Tag Archives: Jacolby Satterwhite

JACOLBY SATTERWHITE — WE ARE IN HELL WHEN WE HURT EACH OTHER

I consider the formalism of my dance strategies as a method for casting a spell of visual harmony. I have a strong grasp on my visual language and what I want to achieve with it. That’s what keeps the viewer locked into the mystery. I’m committed to the composition, to the performance of a ritual. — Jacolby Satterwhite

WE ARE IN HELL WHEN WE HURT EACH OTHER—a new exhibition by Satterwhite comprising mixed media and virtual installations, sculpture, photography, and neon works—is on view in Manhattan through Halloween.

JACOLBY SATTERWHITE—WE ARE IN HELL WHEN WE HURT EACH OTHER

Through October 31.

Mitchell-Innes & Nash

534 West 26th Street, New York City.

Jacolby Satterwhite, We Are In Hell When We Hurt Each Other, Mitchell-Innes & Nash, September 24, 2020–October 31, 2020. Artwork and installation images © Jacolby Satterwhite, courtesy of the artist and Mitchell-Innes & Nash.

2020 SOLIDARITY

Wolfgang Tillmans, Between Bridges, and several dozen international artists have joined together to sell posters to benefit art spaces, nightclubs, music venues, and bars at risk of closing for good because of the pandemic and subsequent lockdown.

Participating artists in the 2020 Solidarity project include Nicole Eisenman, Heji Shin, Carrie Mae Weems, Gillian Wearing, Betty Tompkins, Marlene Dumas, Christopher Wool, Jacolby Satterwhite, Isa Genzken, Rachel Harrison, Thomas Ruff, Elizabeth Peyton, Thao Nguyen Phan, Mark Leckey, Ralf Marsault, Heino Muller, Andreas Gursky, Spyros Rennt, Anne Imhof, Ebecho Muslimova, Piotr Nathan, Ming Wong, David Lindert, Heike-Karin Föll, Luc Tuymans, Stefan Fähler, Sabelo Mlangeni, Simon Denny, Melanie Bonajo, Karol Radziszewski, Karl Holmqvist, Özgür Kar, Claire Nicole Egan, Bobby Glew, Stewart Uoo, Felipe Baeza, Jochen Lempert, Seth Price, Tomma Abts, Wade Guyton, Peter Berlin, and David Wojnarowicz with Tom Warren.

See links below for details.

BETWEEN BRIDGES—2020 SOLIDARITY

BALLEZ, Brooklyn.

VISUAL AIDS, New York City.

Between Bridges, 2020 Solidarity, from top: Melanie Bonajo, Night Soil—Economy of Love, 2015; Isa Genzken, Untitled, 2015; Nicole Eisenman, Never Forget Kissing in Bars, 2020; Carrie Mae Weems, Great Expectations, 2020; Rachel Harrison, April 2020, 2020; Ming Wong, Delphine, 2020; Seth Price, Postcard Style Place, 2018; Sabelo Mlangeni, “Identity” Bongani Tshabalala, 2011; Thao Nguyen Phan, March on a Honda Dream, 2020; Claire Nicole Egan and Bobby Glew, Hard Fond, 2020; Stefan Fähler, Kiss Me, 2020; Heike-Karin Föll, AbExGruau 7, 2017; Karol Radziszewski, Vasiliy, 2018; Elizabeth Peyton, Not Me. Us. (Young Bernie 2020), 2020; David Wojnarowicz with Tom Warren, Self-Portrait of David Wojnarowicz, 1983–1984; Thomas Ruff, Nudes kn30, 2006. Images courtesy and © the artists and Between Bridges.

JACOLBY SATTERWHITE AND LEGACY RUSSELL

As part of the Frieze Art and Fashion Summit in New York, Jacolby Satterwhite will join Studio Museum associate curator Legacy Russell for “Self and Subjectivity—Breaking the Confines of Identity,” a discussion about Satterwhite’s focus on “power, politics, and a dystopian future.”* 

JACOLBY SATTERWHITE and LEGACY RUSSELL

FRIEZE ART AND FASHION SUMMIT

Tuesday, April 30, at 10:20 am.

The New School, Parsons

Tishman Auditorium

63 Fifth Avenue, New York City.

From top: Jacolby Satterwhite, photograph by Frank Sun, courtesy the artist, the photographer, and the San Francisco Museum of Modern Art; Jacolby Satterwhite, En Plein Air: Abduction I, 2014, courtesy of the artist and Morán Morán; Legacy Russell, photograph by Daniel Dorsa, courtesy of the writer and the photographer.

JACOLBY SATTERWHITE AT OHWOW

Jacolby Satterwhite, whose Reifying Desire 6 won rave reviews at this year’s Whitney Biennial, currently has his first Los Angeles show on view at OHWOW Gallery, featuring new two-dimensional works, sculptures, and videos. Satterwhite’s prints and films look like not-quite-old-school video games, with fantastical architectural islands floating in starry seas. Ground planes shift as if manipulated by a viewer’s joystick.

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The works are otherworldly and at times aspirational, owing in part to the exhibition title rendered on a gallery wall in purple neon. In several Satterwhite wears a bodysuit in which he often performs, with a glowing smartphone screen placed over his crotch strapped in a full-body cone-breasted harness, and flanked by naked men. In a single-channel film, the artist appears in the same bodysuit engaged in yogic sexual positions, as bodies multiply like fruit in a vast Bodhi tree that stretches its branches to the heavens while babies crawl over its twisted roots.

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From the exhibition statement:

Often using his mother’s drawings as a resource (she created thousands of schematics and inventions centered on consumer culture, medicine, sex, astrology, and philosophy), Satterwhite propagates her two-dimensional gestures and contextualizes the related themes. For this exhibition, the artist was inspired by a specific sketch, a sort of self-portrait he discovered among her collection of works, in which she drew seven vessels or architectural structures beneath the handwritten phrase “How lovly is me being as I am.” Satterwhite expanded from this personal reflection, developing a macrocosmos, in response.

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While his latest work connects to reality, the visual dialogue also reads something like an extraterrestrial journal, a poetic scape where there is no sense of physical place and no parameters of time. His methods are radical, and the imagery surreal, yet he maintains a visual course of formalist aesthetics and composition. Through performance, video, 3D animation, installation, and sculpture, Satterwhite explores themes of memory, desire, and ritual. He is interested in process as a metanarrative: the narrative between past, present, and future, and how that process relates a broad, shared experience.

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Satterwhite’s exhibition serves as a re-exploration of histories, a compound of various art practices, and a queer rendition of phenomenology. He examines and reifies the tension created between intent and interpretation. If minimalist works move to negate their author, the maximum use of visual language in How Lovely Is Me Being As I Am reaches to the other end of the spectrum, beyond the author, presenting a universal expression.

How Lovely Is Being Me As I Am will be on view until December 20.