Flushing Meadows, Corona
Performing June 11th Art as A Tool of Resistance: Resistance Theater
On view Conversations with Tate III in Creative Mischief 2017
at National Academy Museum, 1083 Fifth Avenue New York, NY 10128
Open May 18 - June 13
self portrait (2010), diptych, cotton rag inkjet print & acrylic, 15x20x2in (38x51x5cm)
Opening reception Friday, April 22, 2016 at 6pm
This collaboration between Flushing Council on Culture and the Arts and Queens College
is a milestone to introducing art, design and art history to our community.
Experience my latest piece Jetez La - J'étais Lá (2015)
Follow the process of Vulnerability Part 2 on
Was on show at Sonia Gechtoff Gallery, New York
January 21st - March 1st 2014
This is the first part of a new body of work Valuables
Valuables - Part 1, lithography, 9x10 in (23x25cm), 2013
October 2 – November 7, 2013
Thursday, October 3, 2013, 5:30 – 8:00pm
New York, NY (September 16, 2013) – On the Relativity of Distance features the
art of important American and Italian artists who created work between the mid-
1960s through the mid-to-late 1970s, including Ed Ruscha, Richard Pettibone,
Pino Pascali and Alighiero Boetti (see full listing below), as well as National
Academy students and faculty who were influenced or affected by the aesthetic
ideas of those periods.
The exhibition opens October 2 and will run through November 7, 2013 at the
National Academy School, located at 5 East 89th Street and Fifth Avenue. The
opening reception will take place on Thursday, October 3, 2013. The exhibition is
free and open to the public. For information, contact 212.996.1908.
The show has been curated by National Academy faculty member Filippo Fossati
and the director of the National Academy School, Maurizio Pellegrin. “The work
in this show is linked by the natural consequences and the influential impact which, as
is often the case in history, begins with a radical shift in language, in the collective
consciousness and, consequently, in the way that art is made wherein the process
becomes more relevant than the final result,” states Fossati.
“This exhibition is in part due to the aftermath of work made at the school through
a series of theoretical classes,” states Pellegrin. “Its aim is not to be an exhaustive
study of a specific period in art, but more of an ‘unconventional’ contribution that
portrays the changes in ideas and materials of art of our time.”
Featured are works by the following artists and National Academy faculty and
Giovanni Anselmo - Ingo-Heinrich Appel - Robert Arneson - Cristina Avello - John
Baldessari - Alighiero Boetti - Alexander Calder - Vittoria Chierici - Christo - Pirro
Cuniberti - Holland Cunningham - Roshanak Elmendorf - Daniele Galliano - Marco
Gastini - Piero Gilardi - Gianfranco Gorgoni - Floor Grootenhuis - Gary Kuehn - Karen
Lindsay - Nicus Lucà - Piero Manzoni - Alfredo Martinez - Nadia Martinez - Fausto
Melotti - Jeffry Mitchell - Paolo Mussat Sartor - Richard Nonas - Dennis Oppenheim -
Giulio Paolini - Pino Pascali -Paolo Pellion - Giuseppe Penone - Richard Pettibone -
Gianni Piacentino - Nicola Ponzio - Emilio Prini - Carol Rama - Man Ray - Ed Ruscha
- Salvo - Mario Schifano - Judith Shea - Ayumi Shibata - Nancy Spero - Caryl Stern -
William Villalongo - Gilberto Zorio
118” x 12” x 6”, (cm. 300 x 30 x 15)
Collection of the artist
Vulnerability is an invitation that I continue to extend to all the women I know to contribute their unwashed underwear. This is an on-going process of investigating shared womanhood, intimacy, body, shame, sexuality and beauty. I received envelopes from places as varied as Europe, Africa, Asia, America and Australia. The crux of the work lies in the process and dialogue generated in gathering the material, while the installation serves as the actual documentation.
Although my art references the feminist movement of the 60’s and 70’s, it differs in that it emphasizes the celebration and empowerment of womanhood.
In my work, I like to play with everyday, commonplace materials. I invite the viewer to re-consider their relationship to objects we all know well, an evolution of Duchamp’s concept of “Ready-mades”.