The magazine for critique and discourse between artist, collectors, and curators.
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Image Woodgate found Online.
Flyer for Tara's solo show.
January 15, 2015
Call for justice and equity is revolutionary.
Call for revolution, at times, is conflated with call for justice.
Space for revolutionary call and its discourse is not marginal and has ontological implications.
Within the penumbra of a call lies a space delineated by ethics and aesthetics.
An Archimedean lever also maneuvers advantageously towards autonomy.
Text for Untitled (blck revolution means justice for all)
Oil on Canvas
18 x 25 in.
My practice is currently rooted in an ongoing exploration of shared experiences and participatory situations. I am drawn to and investigate accidental, ephemeral, and transcendental possibilities via the manipulation of existing systems. Some of my works are performative, and are always site-specific, and contextually- and project-based.
I observe carefully how humans stake their independence in a communal setting and attempt to present them with an opportunity to question a given alienating behavior, turning such actions on their heads as participatory opportunities encouraging reflection, and interaction and exchange. The novelty, ephemerality, and vulnerable nature of these situations refocuses people's attention on the present while expressing ideas of collectivism, universality, and presence. A running theme in my work is a Brechtian subversion of objects, situations, and actions that are often perceived to be personal, insular, disassociating and/or mundane. These include anything from the use of personal electronics and television to a beach towel, car, or family home. Pre-existing systems and situations are subverted, at times in subtle, nearly imperceptible ways, at other times via grandiose and intentional interventions.
Agustina Woodgate creates sculptural works, performances and interactions that generate and imagine new landscapes. These new landscapes transform socio-political phantoms into generative proposals for re-organizing space.
Woodgate’s works invert fields of symbolic reference from the gallery/exhibition hall to the public domain. She combines surreal, conceptual, formal, and contextual practices in works that playfully test the tension between the viewer and reality, converting surplus material and fantasies of outmoded objects into new possibilities of perception and action.
Tara Elizabeth Long
Miami-based artist Adler Guerrier (b. 1975) works in a variety of media, including sculpture, photography, prints, and collaged works on paper. Guerrier’s practice investigates the mutability of text and image and the variability of meaning. He is as interested in politics as he is in poetics, and his work explores the rich territory between them. Often using Miami as a physical site and an embodiment of realized (and unrealized) moments in American political and social history, Guerrier examines, repurposes, and sometimes fictionalizes the city through his work. Guerrier’s oeuvre is expansive in its engagement with the urban environment, art history and materials and this exhibition will bring together a selection of work from the last decade of his career alongside new work produced for this presentation.
Jeffrey Millett is a multidisciplinary artist whose work expands from painting to prototypes, challenging the status quo of specific fields under his investigation. The root of his work finds its foundation in an intensely driven, methodical, analytical process covering the social, economic and political landscapes within urban cities. Currently, his economic research uses public data of specific hedge fund positions to produce tangible, data-driven physical structures and drawings. Taking his own calculated risk, Millett has developed numerous investing strategies, trading options and equities in the stock market. These have become a lucrative venture, and long term benefit to his financial analysis and research, putting his own conceptual thesis at play for real consequences.