Please join us for an exhibition of artists and makers offering their work for sale in support of Ukrainian Refugees held in conjunction with Open Studios | Ukraine Benefit at The Clemente on Saturday, May 21 from 4-8p and Sunday, May 22, 2022 from 2-6p.
The Soniashnyk/Sunflowers exhibition takes place in Room 406 at The Clemente, located on Manhattan’s Lower East Side
107 Suffolk Street, Studio 406, New York, NY 10002
(Between Rivington & Delancey Streets. Subway: F, M, J, Z to Delancey/Essex)
Evoking the sunflower as a symbol of peace and solidarity with the Ukrainian people, Soniashnyk (Ukrainian for ‘sunflowers’) is a group exhibition of ceramics, prints, and paintings organized by The Arts & Crafts Research Studio. A significant portion of each sale will be donated to World Central Kitchen, an organization that is directly supporting refugees of the Russian invasion of Ukraine.
Curated by the Arts + Crafts Research Studio.
Participating artists include Kelly Chang, Julien Gardair, Aya Natalia Karpińska, Hee Chan Kim, Sam Linguist, Andrew Cornell Robinson, Russ Spitkovsky, Frederic Tuten, Miguel Villalobos, and Integrated Makers Collab (a ceramic sculptural collaboration between thirty-two students of Parsons School of Design and the Arts & Crafts Research Studio). Lucas Benoit, Melanie Calabrese, Cindy Cao, Saumya Choksey, Jacqueline Clayton, Janay Davison, Cece Deming-Bernstein, Marcello Flutie, Zoe Frangos, Joshua Frizell, Carlo Hatke, Ellis Herz, Aryan Jaglan, Weston Kear, Yasemin Kurttepeli, Xingtao Liu, Jorge Lopez-Doria, Amanda Lugo, Thomas Mathieu, Presley Nguyen, Mateus O'Donnell, Henry Pakenham, Katie Parsons, Aidan Reinhold, Ahana Sharma, Quincy Sileo, Chloe Trachtenberg, Edmund Trang, Shelby Tse, Ciara Gabrielle Uysipuo, Defne Uzelli, Jiayi Wang.
This exhibition coincides with the 25th edition of The Clemente Open Studios
The Clemente Soto Velez Cultural & Educational Center, Artists Alliance Inc., and the Clemente Residents are pleased to announce the 25th edition of The Clemente Open Studios on Saturday, May 21 from 4-8p and Sunday, May 22, 2022 from 2-6p.
Housing more than 46 visual artists’ studios and 11 visual and performing arts organizations, the Clemente community is thrilled to welcome friends, colleagues, and neighbors back into their home on the Lower East Side. The public is invited to explore this multigenerational community of artists, some of whom have lived and worked in the neighborhood for more than two decades, and residents of participating residency programs. All events are FREE and open to the public. See the press release for a complete schedule of performances, events, and a guide to artist studios and exhibitions.
Join us on Saturday April 2nd for Wunderkammer, an exhibition of work by Andrew Cornell Robinson and Karen Leo at Guttenberg Arts, 6903 Jackson Street, Guttenberg, NJ 07093 April 2, 2022 - May 1, 2022; Opening Saturday April 2nd, 2022. Schedule your visit by going to www.guttenbergarts.org/exhibitions For more information please contact firstname.lastname@example.org or 201-868-8585 Guttenberg Art Gallery is free and open to the public by appointment only. www.guttenbergarts.org
During his time at Guttenberg Arts, New York-based artist Andrew Cornell Robinson (b. 1968, Camden, NJ) has methodically drawn, modeled, carved, cast, printed, and created a layered network of queer and peculiar artifacts and images exploring history, memory, erasure, brokenness, and repair. Robinson’s work during the residency reflects on these themes through a series of layered prints, and ceramic forms that introduce an ad-hoc kintsugi (the Japanese art of repair with gold and lacquer) with the use of DIY materials (duct-tape, epoxy, plastic, spit, gold, glitter, and glue), combining collage and drawing onto a painterly and fragmentary surface. By interrogating collage and traditional methods of making, Robinson made room for a new vocabulary embedding his personal and queer histories through layering and obfuscation.
Robinson reflects on his work: “Drawing upon notions of brokenness, of seeing the world, or ourselves just as we are, and finding some acceptance of that imperfect humanity have emerged in my work. Initially I was drawn to Kintsugi, a tradition that celebrates the fix. This Japanese art of repairing broken ceramic by mending the fragments with lacquer mixed with powdered gold, likely arose during the fifteenth century when shogun Ashikaga Yoshimasa broke a favorite celadon tea bowl. This bowl was sent for repair and returned with its fragments pieced together with iron staples as was the custom at that time. The result was an unsightly repair, and Ashikaga turned to some local Japanese craftsmen who filled the cracks and fragments with lacquer and gold powder, accentuating the breakage with something precious. Kintsugi transforms something broken into something renewed; its mended cracks reveal its unique character and accentuates its aesthetic appeal through the acceptance of its shortcomings. My appropriation and adaptation of this approach to repair, is probably closer to the tinkering traditions of my grandfather who was always making or fixing something. As he would say, “…a bit of spit and glue will do nicely.”
Robinson’s residency led him to explore new work at the intersection of printmaking and ceramics. He uses hand built and wheel formed porcelain that is then cut, carved, and covered with custom silkscreened decals. The glazed and fired works are in some cases broken, or cracked, and an adhoc repair of these objects result in renewed artifacts and enigmatic narratives. The decal and surface imagery pollute the form, and is eerily detached from the objects, like the asynchronous imposition of graffiti over an edifice. These ceramic forms are presented along with a series of painterly prints built up with layered images abstracted figures and obscured portraits.
Community: Craft Exchanges from Haiti and United States
Donna Karan and the Design, Organization, Training Center, and Parsons School of Design invited Andrew Cornell Robinson to collaborate with Haitian artisans in the design of a new ceramic studio in Port-au-Prince.
After the successful launch of the studio, Andrew was approached by a Yoruba priest who commissioned him to use locally harvested clays from Haiti and the United States to create a water vessel for the deity Olokun. Inspired by this creative challenge, Andrew created multiple offering vessels, a selection of which were presented in the “Occupy Art Project #3 – Networks” at the French Consulate, in New York City.
Creating: Offering Vessels
The invitation to create a ritual water vessel to honor the god Olokun at the behest of a friend, a Yoruba priest, offered a profound opportunity to reflect upon the function of ritual, history, faith, connection, redemption, and the concept of àṣẹ, a philosophical concept through which the Yoruba of Nigeria conceive the power to create and produce change. Reflecting upon these ideas led me to Olive Senior’s poem, Olokun: God of the Deep Ocean. *
“Olokun: God of the Deep Ocean, by Olive Senior
In the waiting room beneath the sea lies the mythical Atlantis or the sacred Guinée
Who knows save Olokun master of the deep
guardian of profoundest
Shall we ask him?
Shall we ask him where the world tree is anchored?
Shall we ask him for the portal to the sun?
Shall we ask the tally of the bodies thrown down to him
on the crossing of the dread Middle Passage?
Shall we ask him for the secrets read in the bones
of the dead, the souls he has guided to his keep?
Will he reconnect the chains of ancestral linkages?
Send unfathomable answers from the deep?
Divine Olokun accept the tribute of your rivers
the waters of your seas give back wealth as you please
guard us from our innermost thoughts; keep us from too deep probing
but if we cannot contain ourselves and we plunge
descending like our ancestors that long passage
to knowing, from your realm can we ascend again
in other times in other bodies to the plenitude of being?”
As part of a creative research project and exhibition in New York, Andrew Cornell Robinson’s work was included in an exhibition/intervention along with a group of international artists and curators invited to occupy the Greek General Consulate and French General Consulate in New York City in which work was installed in situ for one month, along with several public events, and musical and theatrical performances.
The Design, Organization, Training Center (D.O.T) in Port-au-Prince, Haiti, was created by Donna Karan, Urban Zen, Parsons School of Design, and Haitian artisan and businesswoman Paula Coles to support Haiti’s artisans with visiting international artists and designers and the creation of a thriving design lab where creative collaborators can work across multiple media from ceramic, wood, metal, and textile, to fiber, horn, and leather.
Andrew Cornell Robinson was a visiting artist and educator, who worked with D.O.T. to design and set up the ceramic studio on site, and lead ceramic materials workshops including uses of local clays, surface design, and food safe glazes. He worked with Haitian artisans as well as scholars in the Parsons Design Fellowship.
Several workshops in ceramic surface design and glaze preparation were offered to local artisans. Participants learned how to prepare slip and engobe materials using imported and native clay and natural materials. Explorations using found chemicals such as rusted metals (i.e. iron oxide), to produce colorants and discussions of local materials that can be used to produce surface colors in the kiln, including seaweed, seawater soaked and dried fabric, etc.
Traditional slip trailing techniques were also explored. Since many of the participants in this workshop were relatively new to ceramic as a material (there were several jewelry makers, a sculptor, a painter, a textile artist, et al.) we spent some time producing test tiles and created a series of beads.
In the afternoon we did a workshop on the use of plaster and alginate to produce various molds for casting, stamping and press molding clay. Additionally, we did a series of printing and slip transfer techniques including stenciling, block printing, and silk-screening colored clay onto clay surface slabs.
The second day participants learned about low fire earthenware glazes. The students mixed tin glazes and developed several colored over glazes using various oxides and stains. In the morning we explored different glazing techniques by glazing about a dozen bisque ware vessels and plates. In the afternoon we explored various production techniques on the pottery wheel including throwing fundamentals, as well as some “tricks of the trade” for production work including forming, warp and crack prevention, sgraffito and finishing.
A group show of works by eight artists presenting an ensemble of unabashedly delicate and highly decorative works that employ non-traditional craft materials and techniques to arrive at an expression of exquisite beauty that pleasures the eye and quivers the soul.
Opening Reception: Thursday April 29th: 6-8pm
On View: April 29th - May 22nd, 2021, Wednesday to Saturday, 12 - 6pm
Equity Gallery 245 Broome Street, New York, NY 10002
Eight gay and queer-identifying artists present an ensemble of unabashedly delicate and highly decorative works that employ non-traditional craft materials and techniques to arrive at an expression of exquisite beauty that pleasures the eye and quivers the soul.
For the vast majority of our planet’s inhabitants, life in the immediate aftermath of the COVID pandemic presents an anxious premonitory landscape inciting a narrow range of fear laden and negative responses. An alternative point of view, borrowed from individuals and groups that have weathered similar perilous episodes, allows that the very nature of turbulence propels instances of revelatory phenomena with near equivalent power. Susceptibility to these epiphanic forces seems linked to an individual’s or group’s aptitude to tolerate and remain attentive to the charged dynamics swirling about them while remaining essentially intact---a “wholeness” achieved through a hyper-awareness of what constitutes the core self in relationship to the self’s aptitude for creative manufacturing --the products, affectations, and transformations that allow for adaptive survival and more importantly, unexpected flights of the spirit.
For an individual, or a select group, the sum total of these adaptive expressions becomes a language onto itself---an insider argot secreting an inner strength and solidarity that confirms well-being as an achievable aspiration that shores up the individual and safeguards the group. Exuberance, by extension, becomes the best defense. The LGTBQ community, coming under the broad heading of “gay” or “queer”, well exemplifies a group having assembled a richly layered cultural expression---one that often trumpets an exaggerated theatricality of joy and ecstasy to scaffold a sheltering hope against hostile forces.
The exhibition “Rapture” stages a full-on display of the avenging transcendence of gaiety as a proven tactic for disarming oppression. The show features the work of seven artists that span two generations and collectively identify as gay, queer and non-binary. Chris Tanner weaponizes triviality and decorative embellishment by deploying non-traditional materials often associated with crafting, such as embroidery, sewing notions, beads, baubles and glittery sequins, to produce intricate sculptural forms that aim to pleasure the eye with an escapist holiday replete with dazzling displays of color, form and texture. Tanner’s installation will focus on his latest driftwood transformations that are fairytale spectacles of bejeweled splendor .
Andrew Cornell Robinson, a multimedia artist known to infuse his composite works with design, craft and fine art elements, will display ceramic vessels from his “My Cup Runneth Over” series. Created using traditional raku methods, a firing process initially invented for pottery intended for tea ceremonies (raku translates to “pleasure”), the pieces display dense black surfaces glazed over with shimmering jewel tones further heightened by embellishments of gold, glitter, paint and collaged paper.
Peter Hristoff ’s paintings and Sean O’Conner paper constructions similarly blur the line between art and design and mimic patterns one might see in wallpapers, printed fabrics, and quilts. Both employ a collage-inspired technique; for Hristoff , we see all-encompassing, edge-to-edge compositions cast with shadowy silhouettes that activate surface effects and hint at homo-romantic intentions. O’Connor’s naïve cut-outs similarly re-contextualize silhouettes, in this instance borrowing from Grecian urns and classical motifs to arrive at surrealist figure compositions that recall the ephemeral delicacy of Jean Cocteau. Cocteau’s sighing sensual line resurfaces in Harrison Tenzer’s high-chroma graphics that speak in layered hieroglyphs about biomorphic encounters that range from the pornographic to the miraculous.
Like Tenser’s drawings, Adrian Milton’s paintings and Wade Schaming’s sculptures, explore the language of abstraction to arrive at a queer aesthetic. Milton, a true child of the sixties, creates psychedelic geometries that recall the glittering flamboyance of his gender-bending drag performances as a Cockette. A magpie, Schaming hordes a wild and colorful assortment of mass- produced detritus and stockpiles it into teetering towers -- a perhaps too obvious symbol of fickle male desire and the paradox of the queer gaze which conflates prey and predator.
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An interest in the expressive potential of processes and ideas pertaining to admixtures and amalgamations, in materials and concept alike, coheres the creative practices of Stephanie Hargrave, Andrew Cornell Robinson and Ben Pritchard. This is true in a general sense, as they have all been working in such modes for many years. It’s particularly true, however, with regard to their studio production this year, selections from which constitute the materially rich and mystically spirited works that find convergence in Conjurings & Concoctions.
Thick strata of scumbles, spills, brushstrokes, scrapes, drips, smears and scrawls factor into Ben Pritchard’s generously textured oil paintings. These facets of somewhat evasive or unstable facture find ultimate confluence, however, in bold forms that seem to both draw from and manifest ex nihilo entire systems of divinatory symbols, celestial mappings, indecipherable runes. Pritchard’s surfaces might elude, in other words, but his representations assert. Consequently, a small work like Power seems to convey landscape and figure alike as the latter rises through the former, or as the former settles atop the latter — or perhaps the artist’s robustly made marks depict the form of a temple seeking alignment with the stars above. In Debate, background and foreground remain shifty and uncertain in the work’s otherwise formally declarative black and white registers. And in Darkness, a slow-moving circuit of bright yellow marks provides an elegantly brushy, curiously nestling framework for a punchy red orb. Variable saturations and surface treatments yield pared down yet similar results in Pritchard’s works on paper.
Andrew Cornell Robinson works consistently in more media and in a broader range of processes than many artists might work in a lifetime. He’s as comfortable shaping clay on a potter’s wheel as he is filling walls with delicate drawings, binding prints and texts into books, making paintings and sculptures for installations, and devising video and photo shoots for narrative-driven exhibitions. Several of these aspects of his work are on display in Conjurings & Concoctions. Ultimately monotypes, the artist’s works on paper in the show, operating in primary-colored concert with one another, evidence a more layered process upon closer scrutiny, revealing themselves to be monotypes executed atop serialized prints of texts and small drawings extracted from an archive of sketches and notes. Quite materially different are Robinson’s ceramics in a series he calls My Cup Runneth Over, in which an almost alchemical admixture of colorful glazes, stains, glitters and gold overlays encourage these ostensibly empty cups to fully spill their guts. Exquisitely beguiling in form and material alike, Robinson’s Memento Mori sculptures present as exuberant apparitions, iconic conjurings of mysterious deities whispering forth from tree hollows in enchanted forests.
An enchanted forest, perhaps, is just the place where Stephanie Hargrave’s sculptural amalgamations would find themselves right at home. In her works presented in Conjurings & Concoctions, Hargrave combines stoneware, encaustic, metal and other media to create objects and ephemeral images that are vaguely familiar as forms of known things, but that ultimately resist recognition as specific things or known forms. They are organic; they are inorganic. They are human-hewn, perhaps utilitarian masses; they are the settled matters of nature’s timeless exhalations, growths and primordial gases. Hybrid 25, for instance, is a petrified bubbling puckering out into the open to exhale, or it’s the vacated dwelling of an ancient mollusk. Flashik might be a rattle-like musical instrument for a mysterious rite, or it might be a battle-worn weapon of warfare. It might also be some undying organism whose length of tooth has left it biding its time with arduous, slowly gnashing bites. An especially peculiar object even in the midst of so much strangeness is Hargrave’s Bucaro. Executed in clay and encaustic, it appears as a crimson-saturated, drippily drenched, cardial tissue-like issue pumping lifebloods into and all over itself, and maybe also into its kindred others all around it.
As you poke about in the imagined realm of Conjurings & Concoctions, it might be wise to watch your step and mistrust your eyes — while listening closely to the trees and peering up, here and there, at the skies.
M. David & Co.
Robinson’s artwork examines and highlights the historical, collective, and often cyclical nature of the visual language of revolution and unrest. His multidisciplinary work is currently showcased in an online-only exhibition, “Andrew Cornell Robinson: The Time of Protest and Plague,” now featured on our WING project space and Artsy profile. View work from the exhibition on Artsy
Studio in the Time of Protest and Plague.
June 10, 2020 Interview with Andrew Cornell Robinson
By Michael Gormley
Living in a city driven by artistic ambition, “What are you working on” is the go-to question meant to quickly distill the daring of one’s aspirational reach, the aesthetic value of its form and the intent and likelihood of financial success and lasting fame. In the upheaval of social unrest and pandemic, the question sizes up how one is to staying alive. Over the past three months Equity has been posting text, images and videos of pandemic projects its member artists have been engaged in.