Bessma Khalaf utilizes photography, video, sculpture, and performance to explore the boundaries of landscape, place, and image
An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court.
In late 2021, Neo Serafimidis began a photographic exploration in response to the perception of nature and reality into which we would emerge after COVID. As it turned out, the pandemic was not over; re-emergence in any sense was suspended. Our relationship to this new world is vague and as variable and mutable as the virus itself.
Jeremiah Ariaz examines Creole history and horse culture in Louisiana Trail Riders. Since 2014, Ariaz has been photographing various southwest Louisiana clubs’ weekend trail rides—the Crescent City Cowboys, Desperados, Buffalo Soldiers, and The Stepping In Style Riding Club, among other groups.
Clement Valla collects environmental data through an intricate process of photography and three-dimensional scanning. His highly specific procedures convert natural objects into data systems. Through the artist’s work with diverse software he explores issues of mediated and computer vision in respect to the natural world. Scanners presents Valla’s exploration of the technical aspects of picture-making.
At the Table is a group exhibition that explores our intimate and communal relationships with food and investigates the many ways these connections were severed or challenged during the 2020-21 lockdown triggered by the COVID-19 pandemic. Through artworks, documentary photography, recorded narratives, and ephemera, this exhibition creates space for reflection on the role food plays in our lives as individuals and in our communities and traces the effects of the pandemic on the ways we interact with and consume food.
Seattle-based photographer Natalie Krick on making her own rules about good photography.
Kelli Connell’s work investigates sexuality, gender, identity and photographer / sitter relationships. In this multi-year project, Double Life, the Chicago-based artist opens up new dialogues about women and aging.
The dialogue between these works can be traced back to 2016 when Hope and de Magalhaes flew across country to contribute to the staging of another artist’s work for the Miami fairs, entwining practices and delighted psyches for the first time. WET WOOL, through a logic central to this show, can be seen as an extension of that trip: an experience, transmuted into something left behind, something remembered, something born.
The works seek to provoke discussion, altogether offering a sort of conference arena for various contemporary topics of conversation — concepts such as twinship and duality, gender identity, aging and fame, distorted senses of realities, the meaning of trash and waste, ancestral protection, relationships to nature, relationships to the economics of time, evolution, constant change, comfort, familiarity, repulsion, uncanny feelings of emptiness, etc. are at the foreground for this exhibition.