Tag Archives: Pilgrim (Smith)

CAULEEN SMITH AND BRENT HAYES EDWARDS

Leave a reply

Anticipating the LACMA exhibition of her touring ICA, University of Pennsylvania show Give It or Leave It, Cauleen Smith will join Brent Hayes Edwards—author of Epistrophies: Jazz and the Literary Imagination—in conversation.

Curator Rita Gonzalez will introduce the online talk. See link below to register for the webinar.

CAULEEN SMITH CONFABULATIONS SERIES—BRENT HAYES EDWARDS

LACMA

Thursday, November 19.

6 pm on the West Coast; 9 pm East Coast.

Cauleen Smith, Give It or Leave It, Institute of Contemporary Art, University of Pennsylvania, curated by Anthony Elms, September 14, 2018–December 23, 2018, from top: I Appreciate You in Advance, 2018, fiberglass screen, woven metallic polyesters, woven two-tone silk; Epistrophe, 2018, multichannel video, color, sound, four CCTV cameras, four monitors, projection, custom wood table, taxidermy raven, wood figures, bronze figures, plastic figures, books, seashells, minerals, jar of starfish, Magic 8-Ball, manekineko, mirror, metal trays, plaster objects, wood objects, wire object, fabric, glass vase, plants; Cauleen Smith, Give It or Leave It (2019) exhibition catalog images (5), courtesy and © the artist and the ICA, University of Pennsylvania; Pilgrim, 2017, still; Give It or Leave It installation view, photograph by Constance Mensh for the ICA. Images © Cauleen Smith, courtesy of the artist, Resnicow and Associates, and the ICA, University of Pennsylvania.

CAULEEN SMITH — MUTUALITIES

Leave a reply

I always think of Sojourner as being in conversation with many different objects, wallpapers, surfaces, textures, and banners. By the time viewers watch the film, they have already received so much informational groundwork from the environment that the film can focus on conveying a particular kind of imagery or feeling. When the title credits appear at the end of Sojourner, the room is completely dark, and that’s the moment when people can see the disco ball installation producing a cosmos on the ceiling. I always consider who the work is made for and what I want it to convey. It is so important that people are given an experience that cultivates their intellectual and physical well-being. That’s why I started making installations for my films, instead of simply showing them. — Cauleen Smith

MUTUALITIES—Smith’s first solo exhibition in New York City—has reopened at the Whitney. The show, which includes her 22-minute video installation Sojourner, was organized by Chrissie Iles, with Clémence White.

This week, join Smith and curator Amber Esseiva for a virtual conversation presented by the Carpenter Center for the Visual Arts at Harvard.

See links below for information.

CAULEEN SMITH—MUTUALITIES

Through January 31, by appointment.

Whitney Museum of American Art

99 Gansevoort Street, New York City.

CAULEEN SMITH and AMBER ESSEIVA IN CONVERSATION

Thursday, September 10.

4:30 pm on the West Coast; 7:30 pm East Coast.

Cauleen Smith, Mutualities, Whitney Museum of American Art, February 17, 2020–January 31, 2021, from top: Alexis Hold Audre Lorde, 2020, from the ongoing series Firespitters, gouache, graphite, and acrylic ink on paper; Gregg Bordowitz, 2020, Firespitters series, gouache, graphite, and acrylic ink on paper; Sojourner, 2018, stills (2), video, color, sound; Pilgrim, 2017, still, video, color, sound, Whitney Museum of American Art; Natalie Holds Dionne Brand, 2020, Firespitters series, gouache, graphite, and acrylic ink on paper; Natalie Diaz, 2020, Firespitters series, gouache, graphite, and acrylic ink on paper. Artwork and video images courtesy and © the artist, Corbett vs. Dempsey, Chicago, and Kate Werble Gallery, New York City. Firespitters series photographs by Matthew Sherman, courtesy of the photographer and the Whitney Museum of American Art.