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Catalyst New Projects by Meredith James, Kameelah Janan Rasheed

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Catalyst New Projects by Meredith James, Kameelah Janan Rasheed Catalyst Oct 18 New Projects by 20 15 Meredith James, Feb 28 Kameelah Janan 2016 Rasheed, and Casey Tang Meredith James is interested in perception—the way we see our immediate Catalyst environment and ourselves inside it. Perception can work in ways that are Oct 18 habitual or biased, predefined or unpredictable. Working in video, sculpture, and theater, James experiments with the physical and optical anatomy of New Projects by space, where perspective can be manipulated and observation influenced. 20 15 James’ new project, Mobius City, 2015, is inspired by the Museum’s Meredith James, Panorama of the City of New York, the gigantic miniature with nearly 900,000 individual structures rendered at a scale of 1:1,200. Originally Feb 28 Kameelah Janan commissioned for the 1964 New York World’s Fair, the model may be a static, old-fashioned way of representing space, but it is unsurpassed in its ability to show an urban environment as a three-dimensional totality. James Rasheed, and found her East Village apartment building on the Panorama, imagined her 2016 apartment in it, and pictured herself inside of it—like we all do! Mobius City Casey Tang is a fantastical daydream in the form of sculptural installation with video, staged in and structured around three real spaces: the artist’s apartment in a 12-story building on 4th Avenue and 12th Street; its double as a near-life- size sculpture; and, the tiny model of the apartment building, standing two inches tall on the Panorama. Cover: Still from Meredith James, Mobius Made of wood and painstakingly painted, the apartment replica in the City, 2015, mixed media installation; video, 7’ gallery is designed in the simplified style of the miniature buildings on the 35”, no sound, looped. Courtesy the artist. Panorama. The interior décor is an extrapolation of what it might look like if the building models on the Panorama had insides with the artist herself re- imagined as a moving wooden figure—what a person might look like if the Panorama had a population. The looped video footage, running on a simplified replica of the large mirror in James’ own apartment, is seamlessly composed of scenes filmed in, at, and outside of these three versions of her habitat. This results in a visual Mobius strip* effect that brings the viewer in and out of the illusion. In doing so it expands and animates the optical relationship between real urban space and its doubles—the sculpturally reproduced artist’s apartment and the miniature universe of the Panorama— in a hypnotic, infinite interplay of scale and illusion. Meredith James holds a BA from Harvard University (2004), an MFA from Yale University (2009), and attended the Skowhegan School of Painting and Sculpture (2011). She is the recipient of the Abrons Art Center AIR Space Catalyst: New Projects by Meredith James, Residency and has received fellowships from Socrates Sculpture Park (2014), Kameelah Janan Rasheed, and Casey Tang is Vermont Studio Center, and Sculpture Space, among others. Her work has generously supported by the Jerome been featured at venues including 247365, Brooklyn, NY; Jack Hanley Foundation Fellowship Program for Emerging Gallery, New York; Rivington Arms, New York; Socrates Sculpture Park, Long Artists in New York City, celebrating its 50th Island City, NY; Interstate Projects, Brooklyn, NY; David Castillo Gallery, anniversary. Additional funding is provided by Miami, FL; and Center for Visual Arts at Harvard University, Cambridge, MA. the New York City Department of Cultural Solo shows have been held at Jack Hanley Gallery, New York, and Marc Affairs and the New York State Council on the Jancou Contemporary, New York. In addition to her own practice, she is a Arts with the support of Governor Andrew curator and co-founder of Primetime Gallery in Brooklyn, NY. Cuomo and the New York State Legislature. Special thanks to Steinway & Sons for their As one of the first recipients of the Queens Museum/Jerome Foundation generosity. Fellowship for Emerging Artists, Meredith James has spent the past year working closely with curators and other staff members to optimize opportunities to expand her practice, with the Museum serving as a catalytic Queens Museum agent. She was selected by a panel that included Naomi Beckwith (Curator, New York City Building Museum of Contemporary Art, Chicago), Herb Tam (Curator, Museum of Flushing Meadows Corona Park Chinese in America, New York), and Hitomi Iwasaki (Director of Exhibitions, Queens, NY 11368 Queens Museum, New York). T 718 592 9700 F 718 592 5778 E [email protected] queensmuseum.org * Mobius strip: A one-sided surface that is constructed from a rectangle by holding one end @QueensMuseum fixed, rotating the opposite end through 180 degrees, and joining it to the first end. Catalyst Oct 18 New Projects by 20 15 Meredith James, Feb 28 Kameelah Janan 2016 Rasheed, and Casey Tang Kameelah Janan Rasheed explores the power of words and images, utilizing Catalyst both to generate a space for those who are segregated or marginalized. Oct 18 With a personal history that includes a period of childhood homelessness, Rasheed’s work is rooted in her need to sustain a sense of community and New Projects by home through an ongoing process of archiving and narration. Rasheed searches for and accumulates images, words and phrases, both existing and 20 15 self-authored, unearthed everywhere from garage sales to public archives. Meredith James, Liberating materials from their original sources and re-engaging them in a new context, her process transforms the typically bureaucratic and passive Feb 28 Kameelah Janan nature of an archive into an intimate and proactive tool for creating alternative narratives, both personal and social. Rasheed, and Source Material for a Poem I’ve Been Trying to Write about Casual 2016 Superlatives, National Progress and Palate Cleansers, 2015, is a sprawling Casey Tang installation consisting of multiple smaller works and components, all sharing a black tonality that renders a decisive focus on the current state of African- Americans’ lived inequity. Along with word and image fragments, Rasheed pins assorted materials including fabrics and synthetic human hair directly to the gallery wall. Other elements include Alphabet Aerobic x Emplotment, 2015, a fast-paced photo slide and text-based video projection of words and Cover: Detail from Kameelah Janan Rasheed, images that Rasheed calls “linguistic stutters and hiccups,” and Go Slow, Source Material for a Poem I’ve Been Trying 2015, featuring the lyrics of Nina Simone’s 1964 song “Mississippi Goddam.” to Write about Casual Superlatives, National Progress and Palate Cleansers, 2015, multi- Rasheed negotiates the dialogue between the written word and imagery, component room installation including Go and the directness and openness of each. Recognizing the power and magic Slow (2015) and Alphabet Acrobat x of poetry, the artist also repurposes words through alliterative games and Emplotment (2015); found and original constricted writing techniques found in the work of African-American poet photographs, Xerox copied text, self-authored Harryette Mullen, whose avant-garde approach to language playfully text, inkjet prints, woodblock prints, delivers politically charged content. monoprints, newspaper clippings, vintage magazines and books, assorted fabric, Also featured is How to Suffer Politely (and Other Etiquette), 2014, a series embroidery thread, stockings, glass, human of aphorisms styled after etiquette guides, mounted on a billboard-sized hair, black grocery bags, birch wood panels, wall. Deftly fused with the artist’s deadpan humor and sense of satire, these and black frames. Courtesy the artist. convey the anxiety and frustration triggered by the serial injustices imposed upon Black people. As an extension of her archiving practice, the artist is also leading a zine- Catalyst: New Projects by Meredith James, making workshop with the Queens Museum’s New New Yorkers Program. Kameelah Janan Rasheed, and Casey Tang is generously supported by the Jerome Kameelah Janan Rasheed is a former U.S. Fulbright Scholar and holds a BA Foundation Fellowship Program for Emerging in African Studies and Public Policy from Pomona College (2006) and an Ed. Artists in New York City, celebrating its 50th M. from Stanford University (2008). Her work has been exhibited at the anniversary. Additional funding is provided by Studio Museum in Harlem, Brooklyn Museum, Bronx Museum, BRIC Art the New York City Department of Cultural Gallery, Weeksville Heritage Museum, and Schomburg Center for Research Affairs and the New York State Council on the in Black Culture in New York, and Vox Populi Gallery, Philadelphia, PA. Arts with the support of Governor Andrew Selected residencies, fellowships and honors include the Lower East Side Cuomo and the New York State Legislature. Printshop Keyholder Residency, Triple Canopy New York Public Library Labs Special thanks to Steinway & Sons for their Commission, Artadia: The Fund for Art and Dialogue Grant, A.I.R. Gallery generosity. Fellowship, AIM Program at Bronx Museum, Art Matters Grant, Vermont Studio Center Residency, The Laundromat Project Fellowship, STEP UP Emerging Artist Award and Center for Photography at Woodstock Queens Museum Residency. Currently, she is the Arts Editor for SPOOK and a contributing New York City Building editor at The New Inquiry. Flushing Meadows Corona Park As one of the first recipients of the Queens Museum/Jerome Foundation Queens, NY 11368 Fellowship for Emerging Artists, Kameelah Janan Rasheed has spent the T 718 592 9700 past year working closely with curators and other staff members to optimize F 718 592 5778 opportunities to expand her practice, with the Museum serving as a catalytic agent. She was selected by a panel that included Naomi Beckwith (Curator, E [email protected] queensmuseum.org Museum of Contemporary Art, Chicago), Herb Tam (Curator, Museum of Chinese in America, New York), and Hitomi Iwasaki (Director of Exhibitions, @QueensMuseum Queens Museum, New York).
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