Light Work Podcast

March 20 – July 27, 2018

Kathleen O. Ellis Gallery

Gallery Talk: Thursday, March 29, 6pm

Reception: Thursday, March 29, 5-7pm

Karolina Karlic’s Rubberlands is an ongoing photographic survey that maps the social and ecological impacts of rubber manufacturing. Following the trajectory of the artist’s earlier work exploring the automobile industry in Michigan, Rubberlands proceeds from Midwest cities like Detroit and Akron, Ohio—once auto capitals of the world and now entry points for commodities through globalized networks. Connecting the company archives of Henry Ford, Goodyear, Goodrich, General Tire, and Firestone, Karlic traces the evolution of an industry that relies heavily on outsourcing of the Hevea brasiliensis (Amazonian rubber tree). Her photographic fieldwork in Brazil has taken her to manufacturing plants in Salvador and Itaparica, Michelin rubber plantations in the Atlantic forest, a fisherman’s village on the coastal rivers of Itubera in Bahia, and the vestiges of Fordlândia, Henry Ford’s planned community in the Amazon.

Karlic reveals threatened landscapes, sites of reforestation, and working factories against the backdrop of their surrounding communities—scenes where living things are transformed into assets and removed from their lifeworlds to supply the demands of capital. By weaving together historical archives and contemporary renderings of environs that production has largely shaped, Karlic moves beyond capturing a static place and time, instead configuring a dynamic space for contemplating the inextricable social and personal bonds that surround labor and natural resources. Here, she invites the viewer into a new imaginary where historical consciousness is critical in reflecting on our relationship to consumption.

lg.ht/Rubberlands

—

Karolina Karlic was born in Poland and immigrated to Detroit, Michigan in 1987. Karlic holds an MFA from the California Institute of the Arts and a BFA from the Minneapolis College of Art and Design. She is an Assistant Professor in the Art Department at the University of California, Santa Cruz, where she currently resides. Karlic’s work focuses in on industry, diaspora, environmental concerns, and the effects of social upheaval, and has led her to capture imagery all over the world, including the United States, her native Poland, Ukraine, Sierra Leone, French Polynesia, and Brazil. Karlic has been the recipient of numerous fellowships and awards, including the John Simon Guggenheim Memorial Foundation Fellowship as well as the Cultural Exchange International Fellowship of the Los Angeles Department of Cultural Affairs and Sacatar Foundation. Karlic participated in Light Work’s Artist-in-Residence Program in June 2013.

karolinakarlic.com

—

Special thanks to Daylight Blue Media

daylightblue.com

Light Work

lightwork.org

Music: "Gears Spinning" by Podington Bear

Music: "Vela Vela" by Blue Dot Sessions

sessions.blue

Hosted on Acast. See acast.com/privacy for more information.

January 16 – March 2, 2018

Kathleen O. Ellis Gallery

Gallery Talk: Thursday, February 1, 6pm

Reception: Thursday, February 1, 5-7pm

Light Work is pleased to present Land of Epic Battles a solo exhibition of prints by Philadelphia-based artist Justyna Badach. Land of Epic Battles features Badach’s new series of large, hand-made dichromate prints, made using film stills from ISIS training videos. For a year she experimented with darkroom techniques before discovering a 19th-century process that would allow her to use gunpowder as a pigment. The resulting incendiary prints initially look like antiquated documentation of Middle Eastern sites and landscapes. The texture of the heavy-weight watercolor paper needed for this process adds a layer of abstraction more akin to the language of drawing and painting than photography. Rather than using images of carnage and gore, for which ISIS videos are infamous, Badach’s edit reveals a vast, enduring, and majestic landscape that dwarfs the players in the conflict and exposes the futility of war.

Land of Epic Battles continues Badach’s ongoing interest in male culture and the machismo of Hollywood films and media. As a child, Badach emigrated from Poland and learned to speak English by watching American TV. Fascinated by the deeply coded American cinema, she later created Epic Film Stills, a project that explored how classic Westerns such as Wyatt Earp and Young Guns glorify the violence of American colonialism. In this series, Epic Film Stills, she focuses on the landscape, which echoes the romanticized version of Manifest Destiny and its violent ideology that she first recognized in American Westerns and which may, in turn, be the lens through which most Americans make sense of Middle Eastern terrorism. In describing this body of work Badach states:

“My work examines the transmutation of history and repackaging of violence through appropriation and re-contextualization of images derived from films created for a male audience. Land of Epic Battles focuses on the hyper-masculine world of ISIS recruitment videos that have grown out of the social and cultural voids that mark this moment in time.”

Besides armored vehicles, the black ISIS flag, artillery, and explosives, each ISIS cell includes a media-savvy creative, equipped with video camera, microphones, laptop, and Final Cut Pro, who carefully documents the destruction wrought by this cell and disseminates this material on encrypted websites and YouTube. Reality TV, DIY citizen-journalism, and video games (specifically Grand Theft Auto) have clearly inspired these works. ISIS videographers carefully edit the action with rousing music and linger in slow motion over point-blank gunshots, beheadings, and crucifixions. Voice-overs promise a life of respect, power, comradery, and victory for young men who have been brutally marginalized and stripped of culture.

lg.ht/LandofEpicBattles

—

Justyna Badach’s family arrived as refugees in the United States in 1980. She currently resides in Philadelphia, where she is an artist, educator, and museum professional. Her work has been exhibited extensively in the United States and abroad and is in the permanent collections of Cranbrook Art Museum, Portland Art Museum, Museet for Fotokunst Brandts, Odense, Denmark. Her artist book is in the Special Collection at the Rice University Library, Houston, TX, Temple University, Philadelphia, PA and Haverford College. Her work has been exhibited internationally, including; Queensland College of Art Griffith University in Brisbane, Art Wonderland Space in Copenhagen and the Temple of Hadrian in Rome to most notably in the US at the Corcoran Gallery, D.C., Portland Art Museum, James A. Michener Art Museum, Doylestown, PA, and Catherine Edelman Gallery, Chicago among others. Badach participated in the residency program at Light Work in 2012.

justynabadach.com

—

Special thanks to Daylight Blue Media

daylightblue.com

Light Work

lightwork.org

Music: "Sleepers" by Sergey Cheremisinov

Music: "Vela Vela" by Blue Dot Sessions

sessions.blue

Hosted on Acast. See acast.com/privacy for more information.

November 1 – December 14, 2017

Kathleen O. Ellis Gallery

Gallery Talk: Thursday, November 30, 6pm

Reception: Thursday, November 30, 5-7pm

In his exhibition, Anonymous, John Edmonds combines two distinct series of portraits, both of which conceal the identities of their subjects. The first series comprises striking formal studies of individuals wearing hoods on the street, photographed from behind. We can quickly read this suite of images as a statement on the unjust death of Trayvon Martin and how individuals of color face issues of racism, safety, and injustice in systemic ways. “All the work that I make is from a very personal place,” says Edmonds of his process. “It starts with me.” Edmonds further embeds himself in this work by photographing his subjects wearing his own hoodies and jackets. With little visual clues to guide us, we may only learn from the artist that the obscured individuals in fact vary in race, gender, and age.

In contrast to the charged public space that Edmonds considers with these pictures, a second series of portraits celebrates blackness and beauty through private and sensual pictures of men wearing du-rags. Once again, Edmonds photographs his subjects from directly behind them. We can trace the du-rag’s origin to the head-wraps worn by female slaves during the antebellum period, and later used to preserve hairstyles, but today both men and women wear du-rags as a symbol asserting cultural pride. A melancholy underlies these portraits, though a majestic and spiritual quality also comes forward, calling to mind totems and religious iconography. A softness and warmth emanates from the colors and folds of the cloth. Edmonds exhibits these portraits on a larger-than-life, monumental scale, implying both nobility and strength, while also subtly undermining the grandiosity by printing on delicate, flowing silk.

Edmonds takes an intimate approach to portraiture as a means of exploring symbols of black culture and the body, and through his pictures he poses larger questions about viewership, desire, and power today. Through concealment, he leaves much to the viewer’s imagination, revealing both the complexity of images themselves and the significance of the preconceptions that we bring to them. “At the heart of all of my work,” says Edmonds, “I want to leave people with something that is more human—despite the facade—and to open up feeling and empathy.”

lg.ht/JohnEdmonds

—

John Edmonds is an artist working in photography whose practice includes fabric, video, and text. He received his MFA in Photography from Yale University School of Art and his BFA in Photography at the Corcoran School of Arts and Design. Most recognized for his projects in which he focused on the performative gestures and self-fashioning of young black men on the streets of America, he has also made evocative portraits of lovers, close friends, and strangers. In addition to his residency here at Light Work, he has participated in residencies at the Center of Photography at Woodstock in Woodstock, New York, FABRICA: The United Colors of Benneton’s Research Center in Treviso, Italy, and The Skowhegan School of Painting & Sculpture in Skowhegan, Maine. Edmonds lives and works in Brooklyn, New York.

johnedmondsphoto.com

—

Special thanks to Daylight Blue Media

daylightblue.com

Light Work

lightwork.org

Music: "Quasi-Stable State" by Monopole

Music: "Vela Vela" by Blue Dot Sessions

sessions.blue

Hosted on Acast. See acast.com/privacy for more information.

August 28 – October 19

Kathleen O. Ellis Gallery

Event: Wednesday, September 13, 6-7:30pm

Reception: Wednesday, September 13, 5-6pm

Light Work is pleased to present the work of photo-collage and video artist Suné Woods, To Sleep With Terra. This will be Woods’ first solo exhibition with Light Work since her residency here in 2016. The exhibition will be on view in the Kathleen O. Ellis Gallery at Light Work from August 28―October 19, 2017, with an opening reception with the artist on Wednesday, September 13, from 5-6pm.

As part of the opening reception, we invite gallery patrons to a special presentation at 6pm. Infused with wordplay, found imagery, sound and moving images in multimedia form by Woods, award-winning poet Fred Moten, and Syracuse University Professor and musicologist James Gordon Williams. Titled You are mine. I see now, I’m a have to let you go, this collaboration was generously supported by Syracuse University’s Humanities Center and is part of the 2017-18 Syracuse Symposium: Belonging. Both events are free, open to the public, and offer refreshments.

Urban Video Project (UVP) will feature Suné Woods’ video work, A Feeling Like Chaos, concurrently with When a Heart Scatter, Scatter, Scatter in the Everson’s Robineau Gallery and To Sleep with Terra at Light Work. Woods says that A Feeling Like Chaos “attempts to make sense of a continuum of disaster, toxicity, fear, and a political system that sanctions violence towards its citizens.” This installation will be on view on the Everson Museum’s north facade September 14―23 and October 5―28, 2017, from dusk until 11:00 p.m. Find more information at urbanvideoproject.com.

Los Angeles-based artist Suné Woods creates multi-channel video installations, photographs, sculpture, and collage. Her practice examines absences and vulnerabilities within cultural and social histories. She also uses microcosmal sites such as the family to understand the larger sociological phenomenon, imperialist mechanisms, and formations of knowledge. She is interested in how language is emotively expressed, guarded and translated through the absence and presence of the physical body.

To Sleep With Terra includes photo-collage and works on paper that explore Wood’s ongoing interest in creating her own topographies, gleaned from science, travel, and geographic magazines and books of the past fifty years. The collage work explores the social phenomena that indoctrinate brutality and the ways in which propaganda and exploitation have employed photography.

Woods has said of her artistic journey, “Collage seemed the best way for me to articulate all the complicated sensations that were arising for me while processing these streamed documentations of violence, ecology, and a desire to understand more deeply how seemingly disparate things relate when they are mashed up in a visual conversation.”

lg.ht/SuneWoods

—

Suné Woods has participated in residencies at Headlands Center for the Arts, Vermont Studio Center, The Center for Photography at Woodstock, and Light Work. Woods has received awards from the Visions from the New California Initiative, as well as The John Gutmann Fellowship Award, and The Baum Award for an Emerging American Photographer. She has exhibited her work at the Brooklyn Museum of Art, The Lowe Art Museum, Miami, and The San Francisco Arts Commission Gallery. She received her MFA from California College of the Arts in 2010 and is currently Visiting Faculty at Vermont College of Fine Art.

—

Special thanks to Daylight Blue Media

daylightblue.com

Light Work

lightwork.org

Music: "A Simple Blur" by Blue Dot Sessions

Music: "Vela Vela" by Blue Dot Sessions

sessions.blue

Hosted on Acast. See acast.com/privacy for more information.

March 20 – July 27, 2017

Kathleen O. Ellis Gallery

Gallery Talk: Friday, April 14, 6pm

Reception: Friday, April 14, 5-7pm

Light Work is pleased to announce Scale Without Measure, a solo exhibition by artist George Awde. Awde’s photographic work explores themes of contemporary masculinity, the male body, friendship, sexuality, and notions of physical and psychological strength, as seen through young men with whom he identifies. The men and boys whom Awde has photographed over the last ten years include migrants to Beirut from Syria. Many are now close friends, allowing for an intimate portrayal of their everyday life. His pictures explore the way that people interact with one another, and in them one senses a longing to belong.

As the global refugee crisis escalates, and the early executive orders of a new and contentious president attempt to block refugees from entering the United States, the themes of artist George Awde’s work seem prescient. Raised by Lebanese immigrants in a suburb of Boston, and currently living in the Middle East, Awde’s experiences inform his perspective on the world, his place in it, and his practice as an artist and a teacher.

Due to the current political turmoil, Awde has respectfully declined our invitation to attend his opening reception at Light Work to stand in solidarity with the individuals who are central to this work, and others vulnerable to these new policy changes. In lieu of a gallery talk, we will video chat with him during the reception on Friday, April 14 at 6pm.

lg.ht/AwdeScale

—

George Awde is a visual artist currently based in Doha, Qatar. He is the co-founder/co-director of marra.tein in Beirut, Assistant Professor at Virginia Commonwealth University in Qatar, and recipient of numerous awards and fellowships, including those from the Aaron Siskind Foundation and a US Fulbright Scholar Grant. He earned an MFA in Photography from Yale University, and a BFA in Painting from the Massachusetts College of Art. Awde participated in Light Work’s Artist-in-Residence program in July 2015.

georgeawde.com

—

Special thanks to Marcia Duprat

marciaduprat.com

Special thanks to Daylight Blue Media

daylightblue.com

Light Work

lightwork.org

Music: "Vela Vela" by Blue Dot Sessions

sessions.blue

Music: "Winter in Beirut" by Happiness in Aeroplanes

Hosted on Acast. See acast.com/privacy for more information.

January 17 – March 3, 2017

Kathleen O. Ellis Gallery

Gallery Talk: Thursday, February 2, 6pm

Reception: Thursday, February 2, 5-7pm

The Gray Line is a series of portraits that artist Kristine Potter made at West Point Military Academy, which has trained a large number of high-ranking Army officers and eventual U.S. politicians. Raised in a military family, Potter notes that “a very particular kind of patriarchy and folklore associated with military heroism” pervaded her childhood years. In this series of photographs, made between 2005 and 2010 at the height of the Iraq and Afghanistan wars, Potter attempts to disrupt the binary language that conflict seems to publicly heighten. “I’m not interested in voicing opinions of whether war is right or wrong. It exists. My voice has always focused on the human drama. These are people and they get used in the political sphere. But in the end, they’re not symbols, they’re humans with complex feelings and lives, and I find that compelling.”

lg.ht/TheGrayLine

—

Born in Dallas, Texas, Kristine earned both a BFA in Photography and a BA in Art History at the University of Georgia in 2000. From 2000 to 2003, Potter lived and worked as a professional printer in Paris, France. In 2005 she earned her MFA in Photography from Yale University. Potter has exhibited work in Paris, New York City, Miami, Atlanta and Raleigh, NC. Daniel Cooney Fine Art in New York City represents her, with a book, Manifest, forthcoming.

kristinepotter.com

—

Special thanks to Marcia Duprat

marciaduprat.com

Special thanks to Daylight Blue Media

daylightblue.com

Light Work

lightwork.org

Music: "Stories about the world that once was" by Chris Zabriskie

Music: "Vela Vela" by Blue Dot Sessions

sessions.blue

Hosted on Acast. See acast.com/privacy for more information.

November 1 – December 16, 2016

Kathleen O. Ellis Gallery

Gallery Talk: Thursday, November 10, 6pm

Reception: Thursday, November 10, 5-7pm

Stanley Wolukau-Wanambwa’s One Wall a Web is an exhibition that gathers together work from two discrete photographic series that he made in the United States: Our Present Invention (2012–2014) and All My Gone Life (2014–2016). Both the series and the exhibition draw their titles from the poetry of Muriel Rukeyser.

One Wall a Web not only explores the mutability of archival images, but the ongoing presence of history in the present day. According to Wolukau-Wanambwa, the exhibition attempts to address “the normalcy of fear, separateness and violence in a moment suffused by them, but also in a culture riven by the habitually limited prescriptions of images.” The exhibition comprises two distinct strands of photographs: the first, a series of appropriated archival 4 × 5 inch negatives; the second, a series of original photographs.

lg.ht/OneWallaWeb

—

Stanley Wolukau-Wanambwa is a photographer, writer, and editor of The Great Leap Sideways. He has contributed essays to catalogues and monographs by Vanessa Winship, George Georgiou, and Paul Graham, written for Aperture magazine, and is a faculty member in the photography department at Purchase College, SUNY. Wolukau-Wanambwa participated in Light Work’s Artist-in-Residence Program in May 2015.

thegreatleapsideways.com

—

Special thanks to Marcia Duprat

marciaduprat.com

Special thanks to Daylight Blue Media

daylightblue.com

Light Work

lightwork.org

Music: Brethren Arise by Chris Zabriskie

Music: "Vela Vela" by Blue Dot Sessions

sessions.blue

Hosted on Acast. See acast.com/privacy for more information.

August 29 – October 22, 2016

Kathleen O. Ellis Gallery

Lecture: Friday, October 7, 6pm

Reception: Friday, October 7, 6-8pm

For his exhibition A Place That Looks Like Home, artist Todd Gray re-frames and re-contextualizes images from his personal archive that spans over forty years of his career as a photographer, sculptor and performance artist. Gray describes himself as an artist and activist who primarily focuses on issues of race, class, gender and colonialism.

His unique process of combining and layering a variety of images and fragments of images allows him the opportunity to create his own history and “my own position in the diaspora.” Working with photographs of pop culture, documentary photographs of Ghana (where he keeps a studio), portraits of Michael Jackson, gang members from South Los Angeles and photo documentation from the Hubble telescope, Gray asserts what he refers to as his own polymorphous identity that defies definition. Inspired by the work of cultural theorist Stuart Hall, Gray invites the viewer to participate in an “ever-unfinished conversation about identity and history."

lg.ht/ToddGray

—

Todd Gray lives and works in Los Angeles and Ghana. He received both his BFA and MFA from the California Institute of the Arts. He is Professor Emeritus, School of Art, California State University, Long Beach. Gray works in multiple mediums including photo-based work, sculpture and performance. Past solo and group exhibitions include: Hammer Museum, Los Angeles; Studio Museum, Harlem, NY; USC Fisher Museum of Art, Los Angeles; Luckman Gallery, Cal State University, Los Angeles; California African American Museum, Los Angeles; Tucson Museum of Art; Detroit Museum of Art; Renaissance Society, University of Chicago, among others. Performance works have been presented at The Roy & Edna Disney Cal/Arts Theater; (REDCAT), Los Angeles; Academy of Media Arts, Cologne, and the Japanese American National Museum, Los Angeles. His work is included in the permanent collections of the National Gallery of Canada; San Francisco Museum of Modern Art; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; the University of Connecticut and the Studio Museum, Harlem, NY. Gray is a Rockefeller Foundation Bellagio Center Resident Fellow. He is represented by Meliksetian | Briggs Gallery in Los Angeles, California. Gray participated in Light Work's Artist-in-Residence program in July 2007.

toddgrayart.com

—

Special thanks to Marcia Duprat

marciaduprat.com

Special thanks to Daylight Blue Media

daylightblue.com

Light Work

lightwork.org

Music: CAMP by Vir Nocturna

Music: "Vela Vela" by Blue Dot Sessions

sessions.blue

Hosted on Acast. See acast.com/privacy for more information.

March 21 – July 22, 2016

Kathleen O. Ellis Gallery

Gallery Talk: Wednesday, March 23, 6pm

Reception: Wednesday, March 23, 5-7pm

With her photographic projects, Japanese artist Miki Soejima walks the line between fact and fiction, uncovering the inherent artifice and truths in images, the significance of authorship, and the power of suspended disbelief.

Soejima elaborated her latest project during her Light Work residency last year. The Passenger’s Present combines photographs made in Japan, in 2013 and 2014, with constructed still life images. Together, they allude to narratives, histories, and myths beneath the surface of Japanese society. They include images of a Kamikaze plane, a nuclear reactor, city street scenes, and reappearing rainbows. Soejima composed the still lifes in the studio with carefully folded paper abstractions. Some include small red spheres, which add weight amongst the light paper compositions, especially if one recognizes them as Atomic FireBalls, the American hard candy named after the atomic bomb.

For a viewer, it’s a not a simple or even singular story. Soejima invites us along as she finds significant moments in the movement of contemporary life and within the stillness of the paper compositions. “I think my core interest lies in how narrative context can shape our way of seeing the world and affect how we act,” says Soejima. We must listen closely to her photographs. As a third component, Soejima integrates images from her grandfather’s photo albums, made while he served in Japanese-occupied Manchuria from 1931-1945. She quotes his solemn declaration: “There is nothing to believe anymore.” This project’s underlying tension is war’s immeasurable devastation. Soejima’s images carry a feeling of hopelessness too. Even the recurring rainbows are somehow disconcerting. Soejima’s pictures probe deep into everyday moments where careful looking uncovers both beauty and a very real sadness.

lg.ht/MikiSoejima

—

Miki Soejima is a London-based Japanese artist. Soejima’s Mrs. Merryman’s Collection (MACK, 2012) was the recipient of the First Book Award, and is regarded as one of the top photobooks of 2012. Recent exhibitions include The Atkinson Gallery, Southport UK; PhotoIreland Festival, Dublin; Arts Santa Mònica, Barcelona; Michael Hoppen Gallery, London; and World Photography Festival and Sony World Photography Awards, Somerset House, London. Soejima’s work is in the collections of the National Media Museum, Amana Photo Collection, and the Jeremy Cooper Collection. Soejima’s book is included in The Photobook: A History Volume III by Martin Parr and Gerry Badger. Soejima was a Light Work Artist-in-Residence in January 2015.

mikisoejima.com

—

Special thanks to Marcia Duprat

marciaduprat.com

Special thanks to Daylight Blue Media

daylightblue.com

Light Work

lightwork.org

Music: Yusuke Tsutsumi

Music: "Vela Vela" by Blue Dot Sessions

sessions.blue

Hosted on Acast. See acast.com/privacy for more information.

January 19 – March 10, 2016

Kathleen O. Ellis Gallery

Gallery Talk: Wednesday, January 27, 6pm

Reception: Wednesday, January 27, 5-7pm

Light Work is pleased to present Mass and Obstruction, a solo exhibition of work by artist Mary Mattingly.

Mary Mattingly creates photographs, sculpture, video and large-scale public art projects ostensibly about climate change but revealing deeper focus on survival and endurance in the face of ecological degradation and violence. Describing photography as the universal language of storytelling, Mattingly blurs the line between fact and fiction, present and future. Using her camera both to document and fictionalize over thirteen years of her environmental art and activism, she creates images by digitally collaging together multiple locations. These fictional, non-specific locations often look strangely futuristic and allow for a conversation about the earth and our impact on it. For Mattingly the “location” is the world’s ecosystem. She looks at the big picture and forces us as viewers to confront our own culpability and the ethics of our choices, a fundamentally important pre-requisite for personal or political change. For the exhibition Mass and Obstruction, the artist presents images and objects that emerge from an unflinching scrutiny of her own consumption and life style as an artist.

lg.ht/MaryMattingly

—

In conjunction with her exhibition at Light Work, Mary Mattingly will be presenting Human and Object, a selection of video works at Urban Video Project (UVP) at the Everson Museum of Art. The exhibition will be on view January 20-30, from dusk-11pm.

urbanvideoproject.com

—

Mary Mattingly is an artist based in New York. Her work has been exhibited at the Brooklyn Museum of Art, The Kitchen, Museo National de Belles Artes de la Habana, International Center of Photography, The Seoul Art Center, The Bronx Museum of the Arts, The New York Public Library, deCordova Museum and Sculpture Park, and The Palais de Tokyo. She participated in smARTpower, an initiative between the U.S. Department of State and the Bronx Museum of the Arts in the Philippines. She has been awarded grants and fellowships from the James L. Knight Foundation, A Blade of Grass, Eyebeam Center for Art and Technology, Yale University School of Art, The Harpo Foundation, NYFA, The Jerome Foundation, and The Art Matters Foundation. Her work has been featured in Aperture Magazine, Art in America, Artforum, Sculpture Magazine, The New York Times, New York Magazine, Le Monde Magazine, The New Yorker, The Wall Street Journal, on BBC News, MSNBC, Fox News, NPR, NBC, as well as on Art21’s “New York Close Up” series. Her work has been included in books such as the Whitechapel/MIT Press Documents of Contemporary Art series titled Nature, edited by Jeffrey Kastner, Triple Canopy’s Speculations, the Future Is… published by Artbook, and Henry Sayer’s A World of Art, 8th edition, published by Pearson Education Inc. Mattingly participated in Light Work’s Artist-in-Residence program in November 2014.

marymattingly.com

—

Special thanks to Marcia Duprat

marciaduprat.com

Special thanks to Daylight Blue Media

daylightblue.com

Light Work

lightwork.org

Music: Blue Dot Sessions

Music: "Vela Vela" by Blue Dot Sessions

sessions.blue

Hosted on Acast. See acast.com/privacy for more information.