Evelyn C. Hankins has been a curator at the Hirshhorn Museum and Sculpture Garden since 2007. While at the Hirshhorn, she has also organized an array of projects, including Mark Bradford: Pickett’s Charge (2017); Robert Irwin: All the Rules Will Change (2016); Susan Philipsz: Part File Score (2016); At the Hub of Things: New Views of the Collection (2014) (co-curated); Jennie C. Jones: Higher Resonance (2013); Over, Under Next: Experiments in Mixed Media, 1913-Present (2013); ColorForms (2010); Walead Beshty: Legibility on Color Backgrounds (2009); and The Panza Collection (2008). Currently, she is working on shows with Charline von Heyl (2018) and Pat Steir (2019). In addition to her exhibition responsibilities, Evelyn provides curatorial oversight for the Hirshhorn’s paintings and works on paper collections. Previously, she held curatorial positions at the Whitney Museum of American Art, New York, and the Robert Hull Fleming Museum at the University of Vermont, Burlington. She earned her M.A. and Ph.D. in art history from Stanford University.
Curated by Enrico Gomez
Opening Reception: Friday, January 19, 7-9p
On view through February 28, 2018
Gallery Hours: MWF 1:30-6:30p
Transit: D/N/R at 36th, R at 25th, B37 bus to 3rd Ave/29th St
Join us! Friday, January 19th as we host the opening reception for Trestle's annual open call to kick off the new year, Introductions 2018.
"Aptly titled 'Introductions', my hope is that this show occurs as an introduction on any number of levels: introductions from artist to artist, an introduction of viewer to artist, & perhaps an introduction to materials and modes of expression not typically encountered. I believe that each of these artworks deserves to be seen and to be considered deeply. I entreat each visitor to the show to "introduce" your own sense of curiosity and generous interest to their creative undertakings, to explore their larger oeuvres through the doorways offered here, and to revel in the delights and inspirations you may find along the way." - Enrico Gomez, Curator
Nancy S. Baker - Allison Blumenthal - Richard Bottwin - Michelle Brandemuehl - Andrea Burgay - Tim Campbell - Tiberiu Chelcea - Marianne DeAngelis - DeShawn Dumas - Brian Edmonds - Patricia Fabricant - Deborah Freedman - Ruth Freeman - Barbara Friedman - Rachel Guardiola - Elizabeth Johnson - Jeffrey Cortland Jones - Laura Kaufman - Leslie Kerby - Ashlee Laing - Janet E. Lee - Thomas Levy - Joseph Liatela - SaraNoa Mark - Eliot Markell - Nina Meledandri - Katherine Mojzsis - Daniel Morowitz - Emilia Olsen - Anna Ortiz - Kirk Palmer - Nicole Parcher - Dominic Quintana - Debra Ramsay - Yoella Razili - John Richey - Elizabeth Riley - Walter John Rodriguez - David Rogers - Marcy Rosenblat - Isabelle Schneider - Sylvia Schwartz - Angela Simione - Greg Slick - Charles Sommer - Bruce Stiglich - Suzanne Stroebe - Fabricio Suarez - Christopher Taylor - Michele Theberge - Jeanne Tremel - MJ Tyson - Lars van Dooren - Katarina Wong - Mary Younkin - Tamar Zinn
The Stamp Gallery
FOR IMMEDIATE RELEASE
December 15, 2017
PHILADELPHIA-BASED ARTIST KYLE KOGUT EXPLORES AMERICAN INDUSTRY AND DESPAIR THROUGH THE LENS OF OCCULT RITUAL IN FALSE MONARCHY AT THE STAMP GALLERY
Opening Reception and Performance by the Artist:
Wednesday, January 31, 6:30–8:30 pm
Free and Open to the Public
Left to right: Kyle Kogut, Untitled (Performance), 2017; Untitled (Rood), 2017; Hörgr, 2017, Images courtesy of the artist.
College Park, MD— In False Monarchy, Philadelphia-based artist Kyle Kogut uses the practices and symbols of occultism and the ubiquitous iconography of auto industry kitsch to explore the contemporary politics of American myth and despair. False Monarchy is on view at the Stamp Gallery at the University of Maryland, College Park, January 24 through March 17, 2018. An opening reception, free and open to the public, will occur on January 31, from 6:30 to 8:30pm, in the Stamp Gallery. A performance by the artist will take place during the reception, starting at 7:00pm.
This solo exhibition, curated by Raino Isto, presents a collection of new installations, objects, and two-dimensional works by Kogut, all examining the disturbing effects of America’s continued attachment to the myth of heavy industry as a miraculous source of economic growth and consumer euphoria. Kogut—the son of an auto mechanic—works in response to his own family background and upbringing, considering how narratives of the artist’s creative expression relate to labor, class, and mortality.
The work in False Monarchy includes a number of Kogut’s recent drawings, which are influenced by the visual idioms of American automotive propaganda, as well as by the precision and themes of Northern Renaissance draughtsmanship. Kogut’s work considers both the nihilistic and liberatory possibilities of repetitive, detail-oriented artistic practice, and links these processes to modes of self-creation that challenge dominant narratives of American society. At the same time, he explores a wide range of artistic influences, from Albrecht Dürer and Francisco de Goya, to Philip Guston and Jen Ray.
False Monarchy also includes an immersive sculpture and video installation that combines the extended soundscapes of drone metal with the meditative environments and symbology of the occult, inflected by Kogut’s abiding interest in the practices of chaos magick. As an environment, False Monarchy encourages critical overidentification with the metaphysical structures of American late capitalism, and reflection on the self-destructive direction of contemporary American politics.
ABOUT THE ARTIST
Kyle Kogut is an artist working in drawing, sculpture, textile, film, performance, and installation. Kogut graduated with a MFA from the Mount Royal School of Art multidisciplinary program at MICA in 2016. He was born in Philadelphia, PA in 1990 and received his BFA from Tyler School of Art in 2012. His work has been included in group shows nationally including Brooklyn, Philadelphia, Phoenix, Washington D.C. and Baltimore. Kogut has had solo and two-person exhibitions at Gateway Gallery (Baltimore), Samuel (Chicago), and Kitchen Table Gallery (Philadelphia). His work has been published in international publications Juxtapoz Magazine and Studio Visit Magazine. Kogut has been included in shows reviewed by Hyperallergic, Bmore Art, and City Paper, Baltimore. Kogut recently moved back to Philadelphia, is teaching at Tyler School of Art, and is a member of FJORD Gallery.
More information: http://www.kylekogut.com
ABOUT THE STAMP GALLERY
Located on the first floor of the Adele H. Stamp Student Union—Center for Campus Life at the University of Maryland, College Park, the Stamp Gallery is dedicated to exhibiting contemporary art, especially the work of emerging and mid-career artists. The Stamp Gallery supports contemporary art that is challenging, academically engaging, and attuned to broad community and social issues. Through meaningful exhibitions and programming, the Gallery offers outside-of-the-classroom experiential learning opportunities. It functions as a laboratory where emerging artists and curators experiment and work through their ideas. The Gallery’s programming aims to emphasize the importance of process to contemporary artistic practice and to provide a forum for dialogue.
FREE and open to the public. Hours: Mondays–Thursdays: 10 am–8 pm; Fridays: 10 am–6 pm; Saturdays: 11am–5 pm; Sundays: Closed.
More information: thestamp.umd.edu/gallery
Raino Isto, Gallery Coordinator
Stamp Gallery, University of Maryland, College Park
Patty Chang: The Wandering Lake, 2009-2017 presents a groundbreaking project by Chang, a uniquely important artist who emerged from New York’s alternative art scene of the mid-1990s. From her tough-to-take, boundary-busting performance-video work that explored the complex psychic narrative behind often visceral solo performances, to more recent experimental films and lecture-performances, Chang has challenged the parameters of performance and its power as a storytelling vehicle. The Queens Museum will present her most ambitious work to date, The Wandering Lake (2009-2017), a project that redefines the role of artist, image, object and performance in the construction of narratives through an exhibition that integrates video projection, photography, sculpture, publication, and performance as one expansive body of work.
The Wandering Lake, 2009-2017 allows viewers to navigate through Chang’s personal, associative, and narrative meditation on mourning, care-giving, geopolitics, and landscape. The exhibition has been structured to replicate the complex way in which stories develop through geography, history, cultural mythology, fiction, and personal experience. While Chang’s multi-year project was in part inspired by turn-of-the-century colonial explorer Sven Hedin’s book The Wandering Lake (1938)—which tells the story of a migrating body of water in the Chinese desert—the project also chronicles the loss of Chang’s father as well as her pregnancy and the birth of her son.
An artist book has been conceived as an organically integral part of the project. The book conceptually mirrors the installation in the galleries and is comprised of a photo essay by Chang detailing her travels to the Xinjiang Uyghur Autonomous Region of Western China, the site of the wandering lake, and other aquatic locations, along with selected excerpts from the aforementioned literatures and other sources in relevant topics written by authors including Jill Casid, Herman Melville and Alice Walker. The book is co-published with Dancing Foxes Press, an independent publishing platform whose projects render ideas that emerge from the minds of artists, writers, and scholars, and are often driven by content and collaboration.
Patty Chang (b. 1972, San Leandro, CA) lives and works in Los Angeles, CA. Chang received a BA from the University of California, San Diego in 1994. Her work has been exhibited nationwide and internationally at such institutions as The Museum of Modern Art, New York; Guggenheim Museum, New York; New Museum, New York; BAK- basis voor actuele kunst, Utrecht, the Netherlands; the Hammer Museum, Los Angeles; Fri-Art Centre d’Art Contemporain Kunsthalle, Fribourg, Switzerland; Chinese Arts Centre, Manchester, England; the Museum of Contemporary Art, Chicago; M+ Museum, Hong Kong; the San Francisco Museum of Modern Art, San Francisco; and the Moderna Museet in Stockholm, Sweden. Chang has received grants from Creative Capital, the New York Foundation for the Arts, Louis Comfort Tiffany Foundation, Rockefeller Foundation, Tides Foundation, and Guggenheim Foundation. Most recently, Chang participated in the 2016 Shanghai Biennale. She lives and works in Los Angeles, CA.
Image: Patty Chang, Installation view, Invocation for a Wandering Lake, Part I, 2015. Projection, 12:49 minutes, sound, dimensions variable. Courtesy the artist and BANK/MABSOCIETY. Photo by Hai Zhang
The presentation of the exhibition and publication Patty Chang: The Wandering Lake, 2009–2017 is made possible by The Shelley & Donald Rubin Foundation, the Elizabeth Firestone Graham Foundation, and Artensee (Shanghai) Cultural Development Co., Ltd. Special thanks to our collaborators at BANK/MABSOCIETY. The Wandering Lake project was realized with grants to the artist from Creative Capital, Guggenheim Foundation, Headlands Center for the Arts, Massachusetts Cultural Council, and New York Foundation for the Arts.
Exhibitions at the Queens Museum receive significant support from Ford Foundation and the Charina Endowment Fund. Major funding for the Queens Museum is generously provided by the New York City Department of Cultural Affairs, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, Lambent Foundation, Booth Ferris Foundation, the Lily Auchincloss Foundation, Inc., and the Laurie M. Tisch Illumination Fund.