Monthly Archives: August 2011

Disorientalism and artist Katherine Behar — upcoming fall 2011 exhibitions and events

Disorientalism’s solo show, Ready Mix, will be on view in Portland at the Feldman Gallery + Project Space at PNCA, in association with PICA’s TBA Festival. Ready Mix continues the series, The Food Groups, when the Disorientals encounter Aunt Jemima. The new work for this show includes 3D lenticular images and bobbleheads!

Disorientalism Ready Mix




















Ready Mix
Curated by Mack McFarland

September 1 – October 22
Feldman Gallery + Project Space
PNCA Main Campus
1241 NW Johnson St
Portland, OR, 97209

Opening Reception: September 1, 6PM – 8PM

More info:

+ + +

In conjunction with the exhibition, Disorientalism is honored to give the 2011 Convocation Lecture at PNCA  with a new performance lecture about failure.

So Happy to be Here in the 21st Century
Convocation Talk by Katherine Behar and Marianne M. Kim

PNCA Main Campus
Swigert Commons
1241 NW Johnson St
Portland, OR, 97209

September 1, 12PM – 1:30PM

More info:

+ + +

DAAN member Katherine Behar will also participate in Don’t Fence Me In… Or Out,  a group show of recent feminist art at Lesley Heller Workspace.

Don’t Fence Me In… Or Out
Curated by Lisa Corinne Davis
September 7 – October 16
Lesley Heller Workspace
54 Orchard Street
New York, NY 10002

Opening Reception: September 7, 6PM – 8PM

More info:

+ + +

Behar will also be included in Interior-ity, a special project for the Moscow Biennale. This group show of new media works about inner life is set in an office, using office computers.

Moscow Biennale Special Project: Interior-ity
Curated by Dima Strakovsky and Lana Zaytseva

September 18 – October 30
Proekt Fabrika
18, Perevedenovsky side-street
Moscow, Russia

Opening Reception:  September 20

More info: and
+ + +

Behar has also been working on a new curatorial project in collaboration with Emmy Mikelson. Our exhibition, And Another Thing, shows historical and contemporary works that deal with non-anthropocentrism.

And Another Thing
Co-curated by Katherine Behar and Emmy Mikelson

September 14 – October 29
The James Gallery
CUNY Graduate Center
365 Fifth Avenue
New York, NY 10016

Opening Reception: September 14, 6PM – 8PM

+ + +

For more information on Katherine Behar’s works, visit her site at:

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Asian American Arts Alliance: Sacred Spaces Slideshow call for submissions


Sacred Spaces Slideshow 

  Arts Alliance Slideluck Potshow

















There is still time to submit work for inclusion in Sacred Spaces: A Slideluck Potshow! Be a part of a4’s fall 2011 Call & Response mini-series for Locating the Sacred.

The Asian American Arts Alliance  (a4) and  Slideluck Potshow (SLPS) invite artists to submit photographs, or images of artwork, on the theme “Sacred Spaces.”

In this time of deep global uncertainty–economically, politically, culturally–what places enable you to reflect, to make sense of it all, and to find your place in the world?  What does “sacred space” mean to you or your community? 

The work of the selected artists will be projected inside the majestic Judson Memorial Church, which is home to an extraordinarily diverse congregation and continues to be a bastion for civil rights and spiritual inquiry in these challenging times.

New Submission Deadline: September 2, 2011

For more information, and to submit, click here

Image: Stained glass image of John the Disciple, on the balcony of the Judson Memorial Church. Photo by Kevin Huang


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Shapeshifters and Aliens at Ross & Rossi, London

Tuesday, September 6 at 6:00pm – October 6 at 6:00pm

Rossi and Rossi
16 Clifford street, London W1S 3DG
London, United Kingdom

Rossi & Rossi is delighted to present Shapeshifters and Aliens,
an exhibition of work by four emerging Iranian women artists, Samira Abbassy, Pooneh Maghazehe, Katayoun Vaziri and Anahita Vossoughi. The exhibition is curated by the Indian artist Jaishri Abichandani.

The notions of alterity and foreignness are the underlying threads that weave through the diverse and distinctive practices of each artist. The works in the exhibition are brought together not only by the artists’ ethnic origins but by their status as resident aliens in the United States. With the exception of Katayoun Vaziri, Pooneh Maghazehe, Anahita Vossoughi, and Samira Abbassy were all born outside of Iran. The sense of displacement that characterises the diaspora experience and the constant demand for transmutation – the need to negotiate the self between social, cultural, political and religious differences are reflected in the title of the exhibition “Shapeshifters and Aliens,” evoking themes from science-fiction as well as notions of immigration and border-crossing.

The four artists work in diverse media, ranging from sculpture, photography, painting and drawing. Pooneh Maghazehe’s colour photographs depict elaborately costumed figures that resemble shamans or nomads against a landscape evocative of the Central Asian plains. Her images allude to two historical communities, the Stonewall era Cockettes, a performance troupe of drag queens based in San Francisco and the Diggers, a 17th century proto-communist group of British Protestants. Maghazehe’s staged photographs challenge the viewer’s preconception of the exotic and the foreign; these outlandish figures in elaborate attire are in fact Utah natives, shot in the Bonneville Salt Flats in northwestern Utah. A sense of playfulness combined with the strange also appears in Anahita Vossoughi’s work. In her sculptural pieces, the visceral is adorned by everyday kitsch, the alien and the grotesque colliding with the whimsical. The fusion of organic forms with everyday found objects almost
seem to come out of a fictional universe where alien life forms have overtaken the human world.

In a series of sepia-toned paintings entitled The Eternal War, Samira Abbassy depicts
contemporary military conflict in the Middle East by alluding to the mythologies of
the Holy Wars and the Cult of Martyrdom in Shia Islam. Using the visual language
of various 15th century “Shah-nama” manuscripts, Abbassy creates monochromatic
paintings on small square white panels. These spectacles of violence range from images
of swordsmen on horses to machine guns, tanks and the prisoners of Abu Ghraib.

Katayoun Vaziri’s hand drawn “movie posters” exploit the iconographic elements
of Iranian nationalist posters from the 80’s alongside the visual style of American
advertisement from the same period. The title of the series “It is meaning which is only

an ambiguous and inconsequential accident,” borrows from a statement by the cultural
theorist Jean Baudrillard. As part of the work, Vaziri invited people to digitally alter the
poster images and texts based on their own readings and interpretations. Through a series
of transformations, re-distributions and re-interpretations, the twenty-two movie posters
of fictional Hollywood films are the outcome of a collaboration between the artist and the

As the writer Sara Raza remarks in the catalogue essay, “Re-constructing Otherness
– Shapeshifters and Aliens,” whereas recent exhibitions of contemporary Iranian art
have focused mainly on debates surrounding gender and the veil, Shapeshifters and
Aliens pushes this dialogue further by providing an invigorating context to view the
work produced by the four women artists, using the tropes of science-fiction to examine
notions of citizenship, alterity, cultural identity, and migration.

Established in 1985 by Anna Maria Rossi, an expert with almost 40 years of experience
in Asian art, Rossi & Rossi has placed itself at the forefront of the global Asian art
market. Under the helm of Fabio Rossi, son of Anna Maria and partner in the gallery,
Rossi & Rossi exhibits works in all media by young and established contemporary artists
from all corners of Asia and the Middle East.

The private view on the 6th of September is co-hosted by the Omid Foundations. The Omid
Foundations empower disadvantaged young women in Iran by strengthening their social,
emotional, and economic competencies, and providing them with a sense of self-worth and
with the opportunities to experience a full range of life options through self-empowerment,
education, and training. Omid’s clients have typically been put into care from an early age,
been abandoned or run away from abusive homes. Contact:,, +44 (20) 75846949.

A percentage of the sales will be donated to the Omid Foundations.

For additional information, images, or to request an interview, please contact:
JUNKO THERESA MIKURIYA tel: 07906781338 email:


Image above: Pooneh Magazehe, Coquette’s Cusp: Act 1 Scene 6 Corey, 2011.

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Smithsonian Fellowship Opportunities in American Art
Fellowship Opportunities in American Art 2012–13

The Smithsonian American Art Museum and its Renwick Gallery invite applications for research fellowships in art and visual culture of the United States. Fellowships are residential and support full-time independent and dissertation research.

The collection of the Smithsonian American Art Museum spans the nation’s artistic heritage, representing outstanding visual accomplishments from the seventeenth century to the present day. Comprising more than 42,000 objects, this unparalleled collection includes special strengths in nineteenth- and twentieth-century marble and bronze sculpture, nineteenth-century landscape painting, Gilded Age and American impressionist paintings, twentieth-century realism, photography and graphic art, folk art, Latino art, and African American art. Artists represented in depth include George Catlin, William H. Johnson, Sean Scully, Lee Friedlander, Christo, Nam June Paik, and William T. Wiley, among others. The collection is housed in a National Historic Landmark building, shared by the National Portrait Gallery and the Archives of American Art, where the expansive holdings of the Luce Foundation Center for American Art can be accessed on a daily basis. American craft is featured in the Renwick Gallery, a curatorial department of the Museum located across from the White House in a restored building designed in 1858 by James Renwick. The gallery’s permanent collection includes works in glass, ceramic, wood, fiber, and metal.

Each scholar is provided a carrel in the Fellowship Office located across the street from the Museum. Available research resources there include a 180,000-volume library that specializes in American art, history, and biography; the Archives of American Art; and the graphics collections of the American Art Museum and NPG; as well as a variety of image collections and research databases. Conveniently located in downtown Washington, D.C., the Museum and Fellowship Office are a short walk from other Smithsonian museums and libraries, the Library of Congress, the National Archives, and the National Gallery of Art. During their stay at the Smithsonian American Art Museum, scholars will be part of one of the nation’s oldest and most distinguished fellowship programs in American art, and will have the opportunity to attend a wide variety of lectures, symposiums, and professional workshops. Short research trips are also possible.

The museum hosts fellows supported by the Smithsonian’s general fellowship fund as well as the following named fellowships:

* The Terra Foundation Fellowships in American Art <>
seek to foster a cross-cultural dialogue about the history of art of the United States up to 1980. They support work by scholars from abroad who are researching American art or by U.S. scholars who are investigating international contexts for American art.

* The Douglass Foundation Fellowship in American Art is given for scholarly research in American art.

* The Patricia and Phillip Frost Fellowship is offered to support research in American art and visual culture.

* The James Renwick Fellowship in American Craft is available for research in American studio crafts or decorative arts from the nineteenth century to the present.

* The Sara Roby Fellowship in Twentieth-Century American Realism is awarded to a scholar whose research topic is in the area of American realism.

* The Joshua C. Taylor Fellowship is supported by alumni and friends of the fellowship program. Contribute <> to the Joshua C. Taylor Fellowship Fund.

* The Wyeth Foundation Predoctoral Fellowship is awarded for the advancement and completion of a doctoral dissertation that concerns the traditions of American art.


Qualifications and Selection

Predoctoral applicants must have completed coursework and preliminary examinations for the doctoral degree, and must be engaged in dissertation research. Postdoctoral fellowships are available to support specific research projects by scholars who hold the doctoral degree or equivalent. Senior fellowships are intended for scholars with a distinguished publication record who have held the doctoral degree for more than seven years or who possess an equivalent record of professional accomplishment at the time of application.

Applicants will be evaluated based on the quality of the proposed research project, academic standing, scholarly qualifications, and experience. The project’s compatibility with the Museum’s collections, facilities, staff, and programs will also be considered. A committee of curators and historians will review the applications.


Application Procedures

The stipend for a one-year predoctoral fellowship is $30,000, plus research and travel allowances. The stipend for a senior or postdoctoral fellowship is $45,000, plus research and travel allowances. The standard term of residency is twelve months, but shorter terms will be considered; stipends are prorated for periods of less than twelve months.

Only one application <> is necessary; applicants will automatically be considered in all relevant award categories. Applicants interested in a specific named fellowship are encouraged to provide a statement that indicates how their research topic is particularly suited to that award.

All applicants are strongly encouraged to discuss their research proposals with potential Smithsonian advisors before submitting applications.


For research consultation:

Virginia Mecklenburg
Telephone (202) 633-8381
Email MecklenburgV[at]

William Truetner
Telephone (202) 633-8384
Email TruettnerW[at]


For applications or general information:

Amelia Goerlitz, Fellowship Program Coordinator Smithsonian American Art Museum Fellowship Office
Telephone (202) 633-8353
Email AmericanArtFellowships[at]
Application for Smithsonian American Art Museum fellowships


For other Smithsonian opportunities:

Office of Fellowships
Telephone (202) 633-7070
Email siofg[at]


Deadline: January 15 is the application deadline for fellowships to begin on or after June 1, 2012.

Awards are based on merit. Fellowships are open to all qualified persons without reference to race, color, religion, gender, national origin, age, or condition of handicap. The Smithsonian Institution’s Office of International Relations will assist with arranging J-1 exchange visas for fellowship recipients who require them.

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2011 SAWCC Visual Art Show – Call for Submissions

The South Asian Women’s Creative Collective is pleased to announce a call for submissions for its forthcoming annual exhibition, to be held at Cuchifritos Gallery, a non-profit art space that is supported by the Artists Alliance and is located in the Lower East Side’s Essex Street Market.

Scheduled as a sort of pop-up show between September 17 and October 2, this forthcoming exhibition will surround the thematic premise of “open/close”. Open to South Asian women artists, submissions will be considered that explore this theme in a wide range of medium. Prospective artists are invited (but not limited) to propose work that investigates this framework along artistic, theoretical, or sociopolitical lines within a local or global context, through the personal or the collective.

Given that Cuchifritos is located within a busy commercial setting that is often an informal meeting place for the Lower East Side’s diverse community, artists are encouraged to consider the context of exhibiting in a venue that is essentially a space within a space. How are the dynamics of an artwork altered or impacted by the bustling activities of an interior microcosm of the city? How might such an exhibition space affect or change the everyday happenings of an unsuspecting passerby?

– Artists must supply their own audio/visual media equipment.
– Art must be finished or in the process of, ready for installation at the time of notification.
– Entries must be original work(s) completed within the last 5 years.

Please forward this call widely.
Submission Deadline: Midnight August 22, 2011
Curator: Maymanah Farhat (art historian)

Please ensure that all requirements, formats and deadlines are followed.
Send emailed submissions to: and cc:

Submissions must include, as attachments:
– 8-10 JPEGS, 820 pixels wide or high, 100 dpi, titled as number & last name (ex. 1_Chaudhury)
– Resume as PDF or Word Document
– Website (if applicable)

In the body of email:
– Name and contact information
– Corresponding image list: Title, Date, Media and Dimensions
– Artist statement pertaining to above curatorial proposal

Artists will be responsible for bringing their works to and from the show and for all shipping, insurance and transportation costs incurred in this process. In special cases, the board will consider financial assistance. More detailed instructions on installation and pick-updates for accepted works will be communicated to the artists after the juried process.

Please email all inquiries or questions to: and cc:

Entry deadline: August 22nd, 2011
Notification: August 29th, 2011

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Valina Hasu Houston’s Calligraphy Aug 25, 27, 28 in Chicago

I would like to extend an invitation of our enhanced staged reading of
Calligraphy, written by the award winning  Velina Hasu Houston, to the
Japanese American Service League.

WHEN: Thursday, August 25 at 7:30pm, Saturday, August 27 at 8:00pm,
and Sunday, August 28 at 2:00pm.

WHERE: Silk Road Theatre Project at The Historic Chicago Temple
Building, 77 W. Washington St., Pierce Hall, Chicago

COST: Free and Open to the Public.

RESERVATIONS:   Reservations strongly recommended.  Only online
reservations accepted.  Email with your name and
number of tickets needed.

Each staged reading will be followed by a Q & A session.

For further information, visit <>


With the humor that survival demands, two cousins—one in Los Angeles
and one in Tokyo—struggle to navigate change as they confront their
mothers’ aging and the impact it has on their lives.

Velina Hasu Houston has written over thirty plays including sixteen
commissions in a career that began in New York at Manhattan Theatre
Club and Negro Ensemble Company.  Her plays have been produced
throughout the U.S. and internationally, including:  the Old Globe
Theatre, George Street Playhouse, Pittsburgh Public Theatre,
Smithsonian Institution, Whole Theatre (Olympia Dukakis, producer),
NHK (Japan nationwide), Pasadena Playhouse, Syracuse Stage, Odyssey
Theatre Ensemble, and others. Current projects include Jonah’s Faith,
LA Opera commission with Alexander Prior; Bliss in the exhibit Posing
Beauty in African American Culture at The Fisher Museum of Art;
Iphigenia at Aulis, Social Science & Humanities Research Council of
Canada commission, Peggy Shannon collaboration; Calligraphy at Silk
Road Theatre Project, and Made in Japan (International Federation of
Theatre Research Conference, Osaka).  At the University of Southern
California School of Theatre, Houston is founder of the Master of Fine
Arts in Dramatic Writing, Professor of Theatre, Associate Dean of
Faculty, Director of Dramatic Writing, Resident Playwright.

Shane Sweeney
Silk Road Theatre Project
312-857-1234 ext. 201

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Vilcek Foundation seeks immigrant digital artists

Immigrant Artists Sought

The Vilcek Foundation is pleased to announce a new initiative entitled dART, short for digital art, developed to celebrate the creativity and accomplishments of foreign-born artists working in the realm of new media art. The foundation seeks submissions of work created by foreign-born artists living permanently in the United States, using computer-based and new media technologies, to be featured in a new digital art space premiering online in early 2012. Following review by an expert in the field, one applicant will be chosen to exhibit work in the new digital art space – the dARTboard; he or she will also receive an honorarium of $5,000. There is no application fee; deadline is October 21, 2011.

Click HERE for complete information.

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If and Only If – Necessary and Sufficient Works by Ruyell Ho

On view August 20 – September 18, 2011
Opening Reception Saturday August 20, 4 – 7 pm

The Bike Room
1109 W. North Shore Avenue
Chicago, IL 60626
The Bike Room is an artist-run project space in Rogers Park
curated by Nancy Lu rosenheim
By appointment (773)-329-7879

Opening reception: Saturday, August 20, 2011 4:00pm – Sunday, September 18, 2011 4:00pm
Closing reception: Saturday, August 20, 2011 4:00pm – 7:00pm

The Bike Room is pleased to present If and Only If – Necessary and Sufficient Works by Chinese-born, Chicago-based artist Ruyell Ho. The show offers glimpses of three projects – each a distillation of Ho’s lifelong pursuit of the language of shape. Ho’s assiduous fabrication of abstract shapes: essential, complex, hybridized compounded and monolithic – tempt interpretation. But Ho rejects both subtexts and formalism as excuses for the strange calligraphy that invades his studio like a band of insects, populating every possible surface with chatter. And yet Ho achieves his goal of utmost simplicity – the bare minimum. Tension arises between obsessive industry and monastic elegance creating an explosion at once effortless and dynamic. The lexicon of symbols and synapses proposes multiple arrangements – sentences, columns and paragraphs – one shape address another in dialogue. Ho challenges the viewer to refrain from translation – no easy task, since these cutouts buzz with suggestions of metaphor, cartoonishness and sexuality. The idiosyncratic characters of If and Only If reference both peers and predecessors, evoking artists as diverse as Martin Puryear, Keith Haring, Elizabeth Murray, Matisse and Ray Yoshida, who taught Ho at SAIC, together with a generation of students who were to emerge as the Chicago Imagists. Necessary and Sufficient are the two criteria required to prove a mathematical theorem, says Ho, who received a Bachelor of Science in Mathematics from the University of California at Berkeley and a BFA from the School of the Art Institute of Chicago. Ho was born in Shanghai and educated in Hong Kong before immigrating to the United States to attend college in 1955. He has exhibited at the Art Institute of Chicago, The Erie Street Gallery, The Illinois Center, The Center for Contemporary Art in Geneva, Switzerland and the Pacific Asia Museum, Pasadena, California. The Bike Room is an artist-run project space curated by Nancy Lu Rosenheim in Rogers Park, Chicago.

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Injured Cities: Urban Afterlives, an international conference

Injured Cities: Urban Afterlives, an international conference, October 14-15, 2011, at Columbia University

Please visit our conference website ( for schedule and registration details (registration required; no registration fee).

Sponsored by the Engendering Archives Project of the Center for the Critical Analysis of Social Difference, this conference is convened on the tenth anniversary of the events of September 11, 2001. In a series of presentations and conversations, an international group of artists, writers, activists and individuals directly affected by urban injury will imagine creative modes of reinvention in response to urban disaster.  Together our participants ask, what are the effects of catastrophe on cities, their inhabitants, and the larger world?  How can we address the politics of terror with which states react to their vulnerability? What enduring wounds does catastrophe leave on urban life, and how can they be mobilized and transformed in the aftermath of injury to enable the imagination of new modes of social life and to thwart impending forms of social death?  Participants include:

Ariella Azoulay

Nina Bernstein

Teddy Cruz

Ann Jones 

Dinh Q. Lê

Anne McClintock

Shirin Neshat 

Walid Ra’ad

Saskia Sassen

Karen Till

Clive van den Berg 

Eyal Weizman

Narrators from the 9/11 Oral History Project

The conference will also feature a lecture-performance by Mapa Teatro from Bogota, Colombia entitled “Testimony to the Ruins” on the Friday evening, as well as a coordinated exhibition, “Encounters in the Aftermath: Works by Lorie Novak,” which will be open throughout and over the week following the conference.

Moderators include Gerry Albarelli, Carol Becker, Hazel V. Carby, Mary Marshall Clark, Saidiya Hartman, Rosalind Morris, Diana Taylor, and Mabel Wilson.  Tina Campt, Marianne Hirsch, Jean Howard, and Laura Wexler are co-organizers of the conference.

The conference is being sponsored by The Columbia University Engendering Archives Project of the Center for the Critical Analysis of Social Difference.  It is being co-sponsored by the Columbia University President’s Office, Columbia University School of the Arts, Institute for Social and Economic Research and Policy, Oral History Research Office, Friends of Columbia University Libraries, Graduate School of Architecture, Planning, and Preservation, Society of Fellows, Dart Center, Institute for Research on Women and Gender, Institute for Comparative Literature and Society, Institute for Religion, Culture and Public Life, Barnard Center for Research on Women, Hemispheric Institute for Performance and Politics, Yale University Public Humanities Program.

We hope that you will be able to attend.  Please contact Kate Trebuss <> with any questions.

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New Publication: Becoming American? The Art and Identity Crisis of Yasuo Kuniyoshi — by ShiPu Wang

DAAN is excited to announce the publication of DAAN member ShiPu Wang’s book: 

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