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SUMMARY:Kenturah Davis + Desmond Lewis
DESCRIPTION:Seed Space + Delta Axis present: Kenturah Davis + Desmond Lewis\n\n\nMemphis artist Desmond Lewis and Kenturah Davis (an artist working between Los Angeles\, New Haven\, and Accra\, Ghana) were selected by Delta Axis and Locate Arts/Seed Space to exhibit their work together based on their innovative sensitivity to material\, their exploration of social and relational content\, and the critical acclaim associated with their work. \nOpening: Friday\, Feb. 15\, 6-8 pm\nOn view: February 15-March 10\nPanel discussion: Saturday\, Feb. 16\, 2 pm \n\n                 \n\n\n    \n\n\n\n\n\nAbout the show:\n\nDelta Axis and Locate Arts/ Seed Space share a mission to promote contemporary art in Memphis and to connect Memphis to the national arts network. After years of dialogue\, a collaboration between the two organizations is emerging in the form of this exhibition. It features an artist practicing in Memphis (Desmond Lewis) and an artist practicing outside of Tennessee (Kenturah Davis). The two artists were selected to exhibit their work together based on their innovative sensitivity to material\, their exploration of social and relational content\, and the critical acclaim associated with their work. \nThis two-person show is one in a series of statewide exhibitions\, organized by Locate Arts\, that features Tennessee artists and artists from out of state\, and partners with a local organization. These exhibitions are leading up to a major statewide event: The TN Triennial\, which will be the largest contemporary art exhibition ever to occur in Tennessee. Its impact will be significant\, both economically and socially\, with an enduring effect\, especially on our visual arts community. The TN Triennial will be a celebration of the experience of contemporary art in Tennessee\, and will include works by renowned artists from inside and outside of the state. The curator has been selected\, important venues are signed up and the dates are set. More information will be released this spring. \nAbout the artists:\nKenturah Davis is an artist working between Los Angeles\, New Haven\, and Accra (Ghana). Her work oscillates between various facets of portraiture and design. Using text as a point of departure\, she explores the fundamental role that language has in shaping how we understand ourselves and the world around us. This manifests in a variety of forms including drawings\, sculpture\, and performances. Davis was commissioned by LA Metro to create large-scale\, site-specific work that will be permanently installed on the new Crenshaw/LAX rail line\, opening fall 2019. Her work has been included in institutional exhibitions in Africa\, Asia\, Australia and Europe. Davis earned her BA from Occidental College and MFA Yale University School of Art. \nDesmond Lewis is a sculptor who was born and raised in Nashville\, TN. Lewis received his AA from Bard College at Simon’s Rock in Great Barrington\, MA in 2012\, BS from Tennessee State University in Nashville\, TN in 2014\, and MFA from The University of Memphis in 2017. Selected group exhibitions include Current Collapse at Ruddell Gallery in 2017 in Spearfish\, SD\, Price is Right at David Lusk Gallery in 2017 in Memphis\, TN\, Equality Matters at Mildred Cox Gallery in 2017 in Fulton\, MO\, and The Collective Presents: Liberation at the Clough-Hanson Gallery at Rhodes College in 2018 in Memphis\, TN. Public and private collections include the Penland School of Crafts\, Carolina Bronze Sculpture Park\, City of Lenoir\, NC\, City of Hickory\, NC\, Vermont Carving and Sculpture Center\, The University of Memphis\, Soulsville USA\, NexAir LLC\, Skowhegan Parks and Recreation\, and the Stax Museum of American Soul Music. In 2017\, He was named one of the 100 Interesting and Influential People of Memphis. Residencies include the Pittsburgh Glass Center (2018)\, Skowhegan School of Painting and Sculpture (2018)\, Haystack Mountain School of Crafts (2017)\, and the Vermont Carving and Sculpture Center (2016). Desmond is currently a Visiting Assistant Professor of Ceramics at Austin Peay State University in Clarksville\, TN. His studio is based in Memphis\, TN. \n 
URL:https://crosstownarts.org/calendar/kenturah-davis-desmond-lewis/
LOCATION:Crosstown Arts\, West Gallery\, Crosstown Concourse\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Gallery,West Gallery
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20181214T120000
DTEND;TZID=America/Chicago:20181214T140000
DTSTAMP:20260423T134246
CREATED:20181031T191412Z
LAST-MODIFIED:20181214T170711Z
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SUMMARY:Homeward Bound Opening Reception
DESCRIPTION:On view: December 14-January 27 \nOpening reception for a group show addressing the complex theme of “home.” \nA place of home has very different meanings to all of us. Sometimes it is a memory\, a sense of place\, a person\, a dream\, a certain chaos\, a metaphorical anchor\, a roof over our heads. \nAt 6:45 pm\, artist Areej Itayem will be performing in a sculpted pair of shoes in a piece titled “Zaman\, Al KabKab: An Indefinite Existence.” \n“I had three chairs in my house; one for solitude\, two for friendship\, three for society.”\n-Henry David Thoreau \n“Home is a name\, a word\, it is a strong one; stronger than magician ever spoke\, or spirit ever answered to\, in the strongest conjuration.” -Charles Dickens \n“Going home without my sorrow\nGoing home sometime tomorrow\nGoing home to where it’s better than before.\nGoing home without my burden\nGoing home behind the curtain\nGoing home without the costume that I wore.”\n-Leonard Cohen \n\nArtists: \nSantina Amato \nLily Anderson \nBinnie Babbage \nDan Ball \nAlexandra Barnett \nAlexandria Bell \nValerie Berlin \nLauren Blair \nHolt Brasher \nJesse Butcher \nHouston Cofield \nSarah Cohen \nAbigail Crenshaw \nSaj Crone \nPaola de la Calle \nEllen Dempsey \nMelissa Dunn \nRichard Echols \nWayne Edge \nBeth Edwards \nVeverly Edwards \nPaige Ellens \n\nRobert Fairchild \n\n\nShatara Ferguson \n\n\nNoa Fodrie \n\nSharon Havelka \nAreej Itayem \nMary Jo Karimnia \nTammy Kurre \nHeath Lail \nRobert La Warre  \nRenee Lasater \nDarla Linerode-Henson \nMax Malcolms \nBart Mallard \nErika McCarthy \nRoss McLean \nAylen Mercado \nRob Moler \nCarl Moore \nNancy Morrow \nLake Newton \nClay Palmer \nAlex Paulus \nNikii Richey \nJuan Rojo \nRebecca Shapass \nGeoffrey Brent Shrewsbury \nCorkey Sinks \nAmanda Sparks \nRyan Steed \nCA Traen \nTammy Trosclair \nMary K VanGieson \nCorie Walker
URL:https://crosstownarts.org/calendar/homeward-bound-opening-reception/
LOCATION:Crosstown Arts\, West Gallery\, Crosstown Concourse\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Gallery
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181213
DTEND;VALUE=DATE:20190128
DTSTAMP:20260423T134246
CREATED:20181031T191412Z
LAST-MODIFIED:20181214T170758Z
UID:10003405-1544724000-1548611999@crosstownarts.org
SUMMARY:Homeward Bound
DESCRIPTION:Group exhibition addressing the complex theme of home\, featuring work from more than 50 artists in genres ranging from painting to sculpture\, video to performance art. \nA place of home has very different meanings to all of us. Sometimes it is a memory\, a sense of place\, a person\, a dream\, a certain chaos\, a metaphorical anchor\, a roof over our heads. \nAt 6:45 pm\, artist Areej Itayem will be performing in a sculpted pair of shoes in a piece titled “Zaman\, Al KabKab: An Indefinite Existence.” \n“I had three chairs in my house; one for solitude\, two for friendship\, three for society.”\n-Henry David Thoreau \n“Home is a name\, a word\, it is a strong one; stronger than magician ever spoke\, or spirit ever answered to\, in the strongest conjuration.” -Charles Dickens \n“Going home without my sorrow\nGoing home sometime tomorrow\nGoing home to where it’s better than before.\nGoing home without my burden\nGoing home behind the curtain\nGoing home without the costume that I wore.”\n-Leonard Cohen. \n\nImportant dates:\nSubmission deadline: Saturday\, November 24\, 2018\nSelection notices sent: Tuesday\, December 4\, 2018\nArtwork drop-off: Wednesday\, December 5-Friday\, December 7\, 2018 (no late work accepted) \nOpening Event: Friday\, December 14\, 2018\nClosing date: January 27\, 2019\nArtwork pick-up: Monday\, January 28-Wednesday\, January 30\, 2019 \n\nArtists: \nSantina Amato \nLily Anderson \nBinnie Babbage \nDan Ball \nAlexandra Barnett \nAlexandria Bell \nValerie Berlin \nLauren Blair \nHolt Brasher \nJesse Butcher \nHouston Cofield \nSarah Cohen \nAbigail Crenshaw \nSaj Crone \nPaola de la Calle \nEllen Dempsey \nMelissa Dunn \nRichard Echols \nWayne Edge \nBeth Edwards \nVeverly Edwards \nPaige Ellens \n\nRobert Fairchild \n\n\nShatara Ferguson \n\n\nNoa Fodrie \n\nSharon Havelka \nAreej Itayem \nMary Jo Karimnia \nTammy Kurre \nHeath Lail \nRobert La Warre  \nRenee Lasater \nDarla Linerode-Henson \nMax Malcolms \nBart Mallard \nErika McCarthy \nRoss McLean \nAylen Mercado \nRob Moler \nCarl Moore \nNancy Morrow \nLake Newton \nClay Palmer \nAlex Paulus \nNikii Richey \nJuan Rojo \nRebecca Shapass \nGeoffrey Brent Shrewsbury \nCorkey Sinks \nAmanda Sparks \nRyan Steed \nCA Traen \nTammy Trosclair \nMary K VanGieson \nCorie Walker
URL:https://crosstownarts.org/calendar/homeward-bound/
LOCATION:Crosstown Arts\, West Gallery\, Crosstown Concourse\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Gallery
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20181201T070000
DTEND;TZID=America/Chicago:20181201T080000
DTSTAMP:20260423T134246
CREATED:20181121T175508Z
LAST-MODIFIED:20181121T201625Z
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SUMMARY:Conversation with Larry Dodson Jr. & Shuronda Cauley
DESCRIPTION:Join us for an intimate conversation with the children of The Bar-Kays — Larry Dodson Jr. (son of Larry Dodson) and Shuronda Cauley (daughter of Ben Cauley). \nIn conjunction with Give a Damn! Music + Activism at Stax Records\, on view at Crosstown Arts through Dec. 2.
URL:https://crosstownarts.org/calendar/conversation-with-larry-dodson-jr-shuronda-cauley/
LOCATION:Crosstown Arts\, West Gallery\, Crosstown Concourse\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:West Gallery
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20180928T130000
DTEND;TZID=America/Chicago:20180928T150000
DTSTAMP:20260423T134246
CREATED:20180830T163900Z
LAST-MODIFIED:20180925T160627Z
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SUMMARY:Opening Reception — Give a Damn! Music + Activism at Stax Records
DESCRIPTION:On view: September 28-December 2 \n“Give a Damn\,” a title taken from the 1970 Staple Singers song\, is the culmination of a year-long examination of Stax Records’ commitment to political activism\, community engagement\, and social justice in the years following Dr. King’s 1968 assassination in Memphis. \nThis exhibition is presented by The Stax Museum of American Soul Music and hosted at Crosstown Arts. It features never-before-seen artifacts including Isaac Hayes’ 14-foot long custom-made office desk\, stage clothing worn by Johnnie Taylor and Isaac Hayes\, rare photos and documents\, short films\, music\, and original artwork contributed by Shelby County students. \nDJ LeRoy (PRE$$URE WORLD) will be spinning deep soul hits from Stax Records and rarely heard tracks from other top Memphis studios.\n\n\nHistorical background:\nFor the musicians and staff of Stax Records\, the 1968 assassination of Dr. Martin Luther King\, Jr. proved to be a catalyst for change. While never explicitly told to keep politics out of the studio\, most Stax artists kept their political preferences to themselves\, or simply chose not to engage. The death of Dr. King\, though\, literally put the struggle for freedom at the front door of Stax Records and made it difficult for those working within to ignore.  \nThe transformation began overnight\, with Stax artists Isaac Hayes and Rufus Thomas thrown into the role of peacekeepers during the unrest that followed Dr. King’s death. The era peaked at 1972’s Wattstax Festival\, where Stax gave an all-day concert for more than 112\,000 people in support of the community the wake of the Watts Rebellion\, and lasted until the studio’s doors closed in December 1975.  \nStax artists increased their participation in civic causes\, initiated relationships with politicians and activists\, adjusted their sound and look to align with both a growing counterculture and black consciousness movement\, and became community leaders\, empowered by their success and support from label owner\, Al Bell. Simply put\, Stax Records began to “give a damn.”
URL:https://crosstownarts.org/calendar/opening-reception-give-a-damn-music-activism-at-stax-records/
LOCATION:Crosstown Arts\, West Gallery\, Crosstown Concourse\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Gallery
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180927
DTEND;VALUE=DATE:20181203
DTSTAMP:20260423T134246
CREATED:20180830T163156Z
LAST-MODIFIED:20180910T202152Z
UID:10003359-1538074800-1543773599@crosstownarts.org
SUMMARY:Give a Damn! Music + Activism at Stax Records
DESCRIPTION:On view: September 28-December 2\nOpening reception: Friday\, Sept. 28\, 6-8 pm \n“Give a Damn\,” a title taken from the 1970 Staple Singers song\, is the culmination of a year-long examination of Stax Records’ commitment to political activism\, community engagement\, and social justice in the years following Dr. King’s 1968 assassination in Memphis. \nThis exhibition is presented by The Stax Museum of American Soul Music and hosted at Crosstown Arts. It features never-before-seen artifacts including Isaac Hayes’ 14-foot long custom-made office desk\, stage clothing worn by Johnnie Taylor and Isaac Hayes\, rare photos and documents\, short films\, music\, and original artwork contributed by Shelby County students. \n\nHistorical background:\nFor the musicians and staff of Stax Records\, the 1968 assassination of Dr. Martin Luther King\, Jr. proved to be a catalyst for change. While never explicitly told to keep politics out of the studio\, most Stax artists kept their political preferences to themselves\, or simply chose not to engage. The death of Dr. King\, though\, literally put the struggle for freedom at the front door of Stax Records and made it difficult for those working within to ignore.  \nThe transformation began overnight\, with Stax artists Isaac Hayes and Rufus Thomas thrown into the role of peacekeepers during the unrest that followed Dr. King’s death. The era peaked at 1972’s Wattstax Festival\, where Stax gave an all-day concert for more than 112\,000 people in support of the community the wake of the Watts Rebellion\, and lasted until the studio’s doors closed in December 1975.  \nStax artists increased their participation in civic causes\, initiated relationships with politicians and activists\, adjusted their sound and look to align with both a growing counterculture and black consciousness movement\, and became community leaders\, empowered by their success and support from label owner\, Al Bell. Simply put\, Stax Records began to “give a damn.”
URL:https://crosstownarts.org/calendar/give-a-damn-music-activism-at-stax-records/
LOCATION:Crosstown Arts\, West Gallery\, Crosstown Concourse\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Gallery
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180322
DTEND;VALUE=DATE:20180429
DTSTAMP:20260423T134246
CREATED:20180220T164848Z
LAST-MODIFIED:20180313T205123Z
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SUMMARY:Young Collectors Contemporary
DESCRIPTION:Young Arts Patrons is pleased to present Young Collectors Contemporary\, a four-day art experience. \nPart exhibition/part immersive professional development seminar/part contemporary arts conference\, Young Collectors Contemporary is a cutting-edge art fair that is multidisciplinary in scope. The goal is to expand the spectrum of emerging artists to new and existing collectors to support the arts economy. \nThe exhibition that goes along with the conference will remain on view at Crosstown Arts through April 28. After the ticketed events\, the exhibition will be free and open to the public. \nPurchase tickets | See the schedule \n\nArtists include Kid Bazzle\, Elliot Jerome Brown\, Zhiwan Cheung\, Sean G. Clark\, Jennifer Crescuillo\, Doughjoe\, Meredith Edmondson\, Jodi Hayes\, Leanna Hicks\, Desmond Lewis\, Tiff Massey\, Lena Murrell\, Dawn Okoro\, Daniel Peterson\, Diedra Pigues\, Kristin Rambo\, Nate Renner\, Robert Schoolfield\, Emile Stark-Menneg\, Anna Wehrwein\, and Christina Wiggins. \nSpeakers include Daniel Peterson\, Troy Wiggins\, Rog & Bee Walker\, Lauren Rossi\, Norf Artist Collective\, Darren Isom\, Cameron Hamilton\, Dr. Patricia Daigle\, Tami Sawyer\, and Cezanne Charles. More to be announced. \n\nConference events:\nThursday\, March 22\nArt Collector Bus Tour 5:30 P.M. \nFriday\, March 23\nArtists Workshops**  10:00 A.M – 3:00 P.M.\nOpening Night Party** 7:00 P.M. \nSaturday\, March 24\nConversations Series** 10:00 A.M \nSunday\, March 25\nYoga** 10:00 A.M\n \n*All events require a ticket that can be purchased at bit.ly/YCC2018 \n**Event will take place at Crosstown Arts \n\nLearn more\nPurchase tickets
URL:https://crosstownarts.org/calendar/young-collectors-contemporary/
LOCATION:Crosstown Arts\, West Gallery\, Crosstown Concourse\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Gallery
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20180126T120000
DTEND;TZID=America/Chicago:20180126T140000
DTSTAMP:20260423T134246
CREATED:20171218T213135Z
LAST-MODIFIED:20180129T163808Z
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SUMMARY:Don't Look for My Heart: Opening Reception
DESCRIPTION:New work by Terri Phillips — a canopy of black garments that loom over a pond of demolished confections\, evoking a scene of quiet despair and a state of ruin. \nArtist Statement:\nTerri Phillips draws from a multiplicity of artistic traditions\, including sculpture\, performance\, film\, installation\, sound\, and photography. Her work incorporates humble materials and everyday objects to create scenes of magic realism based on an abstracted narrative of the artist’s history. Phillips chooses materials based on their tactile and sensual qualities to provoke intuitive responses that include the viewer in completing the process of the narrative. Together these elements transform the experience with the intimacy of memory and the subconscious. \nAbout the Artist:\nPhillips returns to Memphis after completing her education at California Institute of the Arts\, Beaux-Arts\, and Pepperdine University. She has been an adjunct art instructor at Memphis College of Art and University of Memphis for the past several years and has exhibited and curated internationally
URL:https://crosstownarts.org/calendar/dont-look-for-my-heart-opening-reception/
LOCATION:Crosstown Arts\, West Gallery\, Crosstown Concourse\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Gallery
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20180126T120000
DTEND;TZID=America/Chicago:20180126T140000
DTSTAMP:20260423T134246
CREATED:20171212T181653Z
LAST-MODIFIED:20171215T203402Z
UID:10002753-1516968000-1516975200@crosstownarts.org
SUMMARY:Imprismed: Opening Reception
DESCRIPTION:An exhibition of paintings\, sculpture\, and digital objects that constructs a dialectic between the repression and cultivation of psycho-sexual energies through the ages. \nOn view: January 26-March 11\nOpening reception: Friday\, January 26\, 6-8 pm \n\n“The most perfect medium would be an invisible one.” — Terence McKenna \nImagine walking into a gallery space and telepathically downloading a mirage of visions\, ideas\, and living information. IMPRISMED proposes to explore the unconscious infrastructures that inform our perceptions within the lineage of visionary thinkers and cultural commentators such as Marshall McLuhan. \nDuring the 1960s\, McLuhan became a leading intellectual\, initiating the emerging field of Media studies. He coined revolutionary maxims such as “the medium is the message\,” and even predicted the internet nearly 30 years before its invention. This show contains paintings\, sounds\, sculpture and digital objects made of light — a full range of materials dating back through humanity’s most historic to most recent artistic innovations — all  of which attempt to nurture an awareness of how the medium defines their meaning. \nHuman history contains many examples of the use of torture devices on individuals in order to extract information or force confessions\, such as their use during the Salem Witch Trials and Spanish Inquisition. Back in the 1800s\, Native American peoples were wary of their souls being captured if they allowed themselves to be the subject of a photographs\, as if the spirit might become locked into the material density of film. McLuhan also warned against such phenomena when he said\, “The more data banks record about us\, the less we exist.” \nIn our time\, we willingly use internet search engines and other digital platforms such as Facebook that extract our personal information and archive it within a massive database. One use for this pooling of data is for the creation of A.I. or artificial intelligence. Coincidentally\, the National Security Agency’s (NSA) surveillance operation which collects data through major internet platforms\, such as Yahoo\, Google\, Facebook\, Microsoft\, YouTube\, Skype\, and Apple\, is referred to under the code name PRISM. If mediums themselves are the crystalized remains of our communicative processes\, does the accumulation of data put the human spirit at risk for eternal imprisonment within the material realm? \nThe crystalline mineral structure is also capable of producing electricity and sending signals. Digital and nanotechnologies depend upon crystals to control the operations of their systems. Quartz watches\, computers\, cell phones\, solar panels\, and liquid crystal displays (LCD) contain a matrix of crystalline technology. Within a spiritual context\, many New Age syncretic religions also utilize the energetic qualities of crystals and mineral formations within the ritual setting. In this context\, crystals and minerals act as catalysts for the transformation of psycho-sexual energies. \nPart visual boot camp\, part torture dungeon and New Age sanctuary\, IMPRISMED constructs a dialectic between the repression and cultivation of psycho-sexual energies through the ages. \n  \n\nAbout the Artist:\nBorn and raised in Memphis\, Tennessee\, Emily C. Thomas is an interdisciplinary\, project-based artist who has lived and worked in New York\, Los Angeles\, Santa Barbara\, Memphis\, and Amsterdam\, The Netherlands. She received a BFA from NYU in 2009 and a MFA from UC Santa Barbara in 2015. \nThomas’ practice is a holistic response to the fragmentation of consciousness\, resulting from institutionalized segregation of knowledge and the classification of individuals into cultural\, social\, gender\, and human vs. nonhuman roles. Acting as a medium\, she conjures visions of trans-rational and transpersonal realms that dissolve divisions within consciousness. \nShe materializes these visionary states through installation\, animation\, film\, sculpture\, painting\, and sound to fabricate self-reflecting worlds of initiatory experience. As cognizant of the digital as she is of the archaic (a time when the disciplines of philosophy\, science\, religion\, magic\, and art were one unified field of exploration)\, her work often juxtaposes the concepts of Enlightenment within Eastern and New Age spiritual practices and The Scientific Revolution’s Age of Enlightenment that developed within 18th-century Europe. \nHer imagery frequently alludes to the practice of observing color\, light\, and darkness as a way to gain insight into the spiritual and scientific nature of reality. Her work is created by equal parts research\, imagination\, and hands-on experimentation with materials and technology. The result is an aesthetic that embraces elements of the handmade alongside digital and obsolete technologies.
URL:https://crosstownarts.org/calendar/imprismed-opening-reception/
LOCATION:Crosstown Arts\, West Gallery\, Crosstown Concourse\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Gallery
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180125
DTEND;VALUE=DATE:20180312
DTSTAMP:20260423T134246
CREATED:20171218T212426Z
LAST-MODIFIED:20180205T200922Z
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SUMMARY:Terri Phillips: Don't Look for My Heart
DESCRIPTION:On view through March 11\nOpening reception: Friday\, Jan. 26\, 6-8 pm \nGallery hours:\nTuesday-Friday\, 10 am-8 pm\nSaturday\, 10 am-6 pm\nSunday\, noon-6 pm \nA canopy of black garments that loom over a pond of demolished confections\, evoking a scene of quiet despair and a state of ruin. \nArtist Statement:\nTerri Phillips draws from a multiplicity of artistic traditions\, including sculpture\, performance\, film\, installation\, sound\, and photography. Her work incorporates humble materials and everyday objects to create scenes of magic realism based on an abstracted narrative of the artist’s history. Phillips chooses materials based on their tactile and sensual qualities to provoke intuitive responses that include the viewer in completing the process of the narrative. Together these elements transform the experience with the intimacy of memory and the subconscious. \nAbout the Artist:\nPhillips returns to Memphis after completing her education at California Institute of the Arts\, Beaux-Arts\, and Pepperdine University. She has been an adjunct art instructor at Memphis College of Art and University of Memphis for the past several years and has exhibited and curated internationally
URL:https://crosstownarts.org/calendar/terri-phillips-dont-look-for-my-heart/
LOCATION:Crosstown Arts\, West Gallery\, Crosstown Concourse\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Gallery
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180125
DTEND;VALUE=DATE:20180309
DTSTAMP:20260423T134246
CREATED:20171212T180035Z
LAST-MODIFIED:20180216T211753Z
UID:10002751-1516903200-1520531999@crosstownarts.org
SUMMARY:Emily C. Thomas: Imprismed
DESCRIPTION:An exhibition of paintings\, sculpture\, and digital objects that constructs a dialectic between the repression and cultivation of psycho-sexual energies through the ages. \nOn view: January 26-March 11\nOpening reception: Friday\, January 26\, 6-8 pm \nGallery hours:\nTuesday-Friday\, 10 am-8 pm\nSaturday\, 10 am-6 pm\nSunday\, noon-6 pm \n\n“The most perfect medium would be an invisible one.” — Terence McKenna \nImagine walking into a gallery space and telepathically downloading a mirage of visions\, ideas\, and living information. IMPRISMED proposes to explore the unconscious infrastructures that inform our perceptions within the lineage of visionary thinkers and cultural commentators such as Marshall McLuhan. \nDuring the 1960s\, McLuhan became a leading intellectual\, initiating the emerging field of Media studies. He coined revolutionary maxims such as “the medium is the message\,” and even predicted the internet nearly 30 years before its invention. This show contains paintings\, sounds\, sculpture and digital objects made of light — a full range of materials dating back through humanity’s most historic to most recent artistic innovations — all  of which attempt to nurture an awareness of how the medium defines their meaning. \nHuman history contains many examples of the use of torture devices on individuals in order to extract information or force confessions\, such as their use during the Salem Witch Trials and Spanish Inquisition. Back in the 1800s\, Native American peoples were wary of their souls being captured if they allowed themselves to be the subject of a photographs\, as if the spirit might become locked into the material density of film. McLuhan also warned against such phenomena when he said\, “The more data banks record about us\, the less we exist.” \nIn our time\, we willingly use internet search engines and other digital platforms such as Facebook that extract our personal information and archive it within a massive database. One use for this pooling of data is for the creation of A.I. or artificial intelligence. Coincidentally\, the National Security Agency’s (NSA) surveillance operation which collects data through major internet platforms\, such as Yahoo\, Google\, Facebook\, Microsoft\, YouTube\, Skype\, and Apple\, is referred to under the code name PRISM. If mediums themselves are the crystalized remains of our communicative processes\, does the accumulation of data put the human spirit at risk for eternal imprisonment within the material realm? \nThe crystalline mineral structure is capable of producing electricity and sending signals. Digital and nanotechnologies depend upon crystals to control the operations of their systems. Quartz watches\, computers\, cell phones\, solar panels\, and liquid crystal displays (LCD) contain a matrix of crystalline technology. Within a spiritual context\, many New Age syncretic religions also utilize the energetic qualities of crystals and mineral formations within the ritual setting. In this context\, crystals and minerals act as catalysts for the transformation of psycho-sexual energies \nPart visual boot camp\, part torture dungeon and New Age sanctuary\, IMPRISMED constructs a dialectic between the repression and cultivation of psycho-sexual energies through the ages. \n\nAbout the Artist:\nBorn and raised in Memphis\, Tennessee\, Emily C. Thomas is an interdisciplinary\, project-based artist who has lived and worked in New York\, Los Angeles\, Santa Barbara\, Memphis\, and Amsterdam\, The Netherlands. She received a BFA from NYU in 2009 and a MFA from UC Santa Barbara in 2015. \nThomas’ practice is a holistic response to the fragmentation of consciousness\, resulting from institutionalized segregation of knowledge and the classification of individuals into cultural\, social\, gender\, and human vs. nonhuman roles. Acting as a medium\, she conjures visions of trans-rational and transpersonal realms that dissolve divisions within consciousness. \nShe materializes these visionary states through installation\, animation\, film\, sculpture\, painting\, and sound to fabricate self-reflecting worlds of initiatory experience. As cognizant of the digital as she is of the archaic (a time when the disciplines of philosophy\, science\, religion\, magic\, and art were one unified field of exploration)\, her work often juxtaposes the concepts of Enlightenment within Eastern and New Age spiritual practices and The Scientific Revolution’s Age of Enlightenment that developed within 18th-century Europe. \nHer imagery frequently alludes to the practice of observing color\, light\, and darkness as a way to gain insight into the spiritual and scientific nature of reality. Her work is created by equal parts research\, imagination\, and hands-on experimentation with materials and technology. The result is an aesthetic that embraces elements of the handmade alongside digital and obsolete technologies.
URL:https://crosstownarts.org/calendar/emily-c-thomas-imprismed/
LOCATION:Crosstown Arts\, West Gallery\, Crosstown Concourse\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Gallery
ATTACH;FMTTYPE=image/png:https://crosstownarts.org/wp-content/uploads/2017/12/Screen-Shot-2017-12-12-at-12.00.01-PM.png
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