I’m excited to announce that my work is now exhibited with LAMINAproject, a hybrid platform devoted to art inspired by science.
LAMINAproject partners with ARTSY, an online art marketplace.
Artist Residency at Tides Institute and Museum of Art
In August/September, I had a very productive month as artist-in-residence at Tides Institute and Museum of Art in Eastport Maine. There I met with a marine biologist from the Maine Department of Marine Resources to learn about local phytoplankton and connected with the Cobscook Bay Resource Center which allowed me to utilize microscopic photographs from their website.
Working in the Tides studio, Eastport Maine. Photo: Hugh French.
Two works created at the residency, each 23" x 34".
At the end of the month I gave a zoom talk about the work I made in Maine, which you can access here. Please let me know what you think.
Can't we all get along?
Happy spring (northern hemisphere), sad quarantine (unfortunately)! But here we are — may we all stay steady and strong!
You’ve no doubt been inundated with the iconic covid-19 image, the gray and red 3-D representation that to me seems far less threatening than the virus (of course, as it was intended) — beautiful even, sexy and colorful, like a dog ball — except for those deadly tubercles sticking out!
Viruses are what I’ve been working with for the past three years — images of bacterial and viral particles, organs, brain activity and other biomorphic abstractions, overlapping in space.
"Bodies (series) 6440," graphite and paper on paper, 18" x 24," 2019.
"Bodies (series) 6322," graphite and paper on paper, 18" x 24," 2019.
What if we could combine the good (virus / people) with the bad (virus / people) and coexist together? "Can we all get along? Can we stop making it horrible for the older people and the kids?." (Rodney King 1992).
What if SARS-CoV-2 could form relationships with our immune system, with white blood cells, and get along? Love each other and even thrive together? Surreal. (Hey, what if the GOP could get along with the Dems?) This is the concept for the cohabitations I create on paper. Sort of.
Digitized Documentation of 1983 Performance at Franklin Furnace
Since most art viewing is currently relegated to the computer, I’m linking recently digitized documentation of my performance at Franklin Furnace in 1983. I’m so lucky to have been part of the era of artists in downtown New York when performances took place in raw lofts for a handful of people. Franklin Furnace hosted two projects of mine in their basement space. Check out these clips from Raw Stock that I wrote, directed and performed in with Catharine MacTavish, cello; Christine Hatfull, dance/reading; Ilona Granet & Anne Hammel, spoken word; and Colin Griffiths, music.
"Raw Stock," documentation photograph, photographer unknown, Franklin Furnace, 1983.
Debtor's Prison Featured in Exhibition at Poet's House
Recently, I posted pages on FB from Debtor’s Prison, a book I created in collaboration with poet Lewis Warsh which was published in 2001 by Granary Books and Visual Studies Workshop, and many of you commented. The title might be a concept that most are glad doesn’t exist anymore, given the current state of our economies, but thebook resonates. It was released in October, right after 9-11, so it is particularly prescient. Well, except for those empty hospital hallways!
Debtor's Prison, page spread from book in collaboration with Lewis Warsh, Granary Books, 2001.
Debtor's Prison, page spread from book in collaboration with Lewis Warsh, Granary Books, 2001.
Spreads from the book are also currently being exhibited at Poets House (from March through August) in an exhibition entitled "Participating Witness: The Poetics Of Granary Books" — of course viewed only by spirits right now, but hopefully we’ll be out of this mess before the show is scheduled to close in August (and maybe Poets House will keep it up a bit longer).
Granary Books’ exhibition is wide-ranging, featuring books, page spreads and ephemera from publications created since 2000, including work by Kiki Smith, Donna Dennis, John Ashbery, Johanna Drucker, Charles Bernstein, Ligorano/Reese, James Sienna, Timothy C. Ely, Duncan Hannah, Mimi Gross, Majorie Welish, Yvonne Jacquette, Cecilia Vicuña, Alison Knowles, Jack Smith, Ron Padgett, Archie Rand, John Yau, Tevor Winkfield, Susan Bee, and more. I hope you get a chance to stop by this summer!
Yale University Radio interviews Julie Harrison
Brainard Carey, co-founder of Praxis Center for Aesthetic Studies and curator at the Museum of Non-Visible Art, recently interviewed Julie Harrison via Skype for Yale University Radio.
To listen, go to: http://museumofnonvisibleart.com/interviews/julie-harrison/
[blog post] Viva la Revolúcion! / Long Live the Revolution!
One aspect of Mexican culture that I’ve always appreciated is how the arts engage with political thought. [...]
The impulse for artists in Mexico to reflect on social issues and injustices was recently highlighted after the 2014 disappearance of 43 students from the Ayotzinapa Rural Teachers' College in the state of Guerrero.
A government-appointed panel found that the students, “who may well have been targeted for their left-wing activism, were brutally attacked and abducted by local police officers in league with members of the criminal organization known as Guerreros Unidos.”
"Make, Believe: The Maslow Collection and the Moving Image"
Jan 26, 2018 – Mar 21, 2018
Opening Reception: January 26th, 5-7 pm
Mahady Gallery / Maslow Study Gallery for Contemporary Art Marywood University, Scranton, PA Curator Gallery Talk: February 7th, 4-5 pm
"Make, Believe" generates a dialogue between the work of artists in The Maslow Collection and artists working with the moving image. The films and videos of Basma Alsharif, Nazlı Dinçel, Julie Harrison & Neil Zusman, David Haxton and M.M. Serra all, in their respective ways, interrogate the notion of the acceptance of reality. What might otherwise be considered documentary scenarios become realities that slip, shift and falter, and we begin to inhabit spaces of the unreal or uncanny. These artworks demonstrate a fluid mobility between stable, recognizable ground and the far reaches of the mind and imagination. This freedom of movement also presents itself through a number of diverse practices within The Maslow Collection. Using photography, drawing, painting, printmaking and conceptual practices throughout the 1970s, 80s and 90s, artists like Alice Aycock, Mark Cohen, Barbara Kasten, Dorothea Rockburne and Sandy Skoglund examine similar themes surrounding unexpected spatial realities. They each ask, in their own way, “Will you believe what you see?”
Featuring moving image works by: Basma Alsharif, Nazlı Dinçel, Julie Harrison & Neil Zusman, David Haxton and M.M. Serra; with works from The Maslow Collection by: Alice Aycock, Jennifer Bartlett, Mark Cohen, Hamish Fulton, David Haxton, Barbara Kasten, Martin Mull, Ellen Phelan, Robert Rauschenberg, David Reed, Dorothea Rockburne, Sandy Skoglund and Andy Warhol.
Make, Believe is curated by Herb Shellenberger (independent curator) and Ryan Ward (Curator, The Maslow Collection).
Club 57 Gallery Screening: "Joe Lewis and Friends"
Club 57 Gallery Screening: "Joe Lewis and Friends" Museum of Modern Art, New York City
January 23 – January 30, 2018
On the occasion of Joe Lewis’ live appearance in the Club 57 galleries on January 25, we revisit performance videos from this musician, artist and co-founder of Fashion Moda. Documentation of an uptown reprise of Club 57’s Lady Wrestling [video by Julie Harrison] is memorable for its ringside interviews and record of audiences engaging with the storefront from the street. Lewis performed regularly with his father, Joseph Lewis Sr, and occasionally with iconoclastic countertenor Julius Eastman. This program samples a gig by Lewis, Eastman, and Lewis at Arleen Schloss’s performance salon A’s and Lewis and Lewis performance videos from media artist Davidson Gigliotti’s series of music tapes.
"Utopian Potentials and Media(ted) Realities" symposium at BRIC
"Utopian Potentials and Media(ted) Realities" at BRIC
Saturday, April 22, 2017 12:00 - 4:00 PM
free w/ rsvp
Members of Collaborative Projects speak on "The Potential of Collectivity" (including Colab members Julie Harrison, Andrea Callard, Cara Perlman, and Mitch Corber) with moderator Reya Sehgal.
"Utopian Potentials and Media(ted) Realities" is a symposium exploring the promise of Public Access television and open network technologies, featuring cultural producers from the 1970s, to the present. Speakers include legendary Public Access host Glendora Buell, members of Colaborative Projects (Colab), and a panel with Robert Buck, Tara Mateik, Carmel Curtis, and moderator Rebecca Cleman of Electronic Arts Intermix (EAI).
image from video "The Birthday Show" by Julie Harrison, produced and aired on Public Access TV in 1982 as part of Collaborative Projects' "Potato Wolf" show.
The symposium will include video screenings, and will be divided into three segments:
12-1PM: A Chat with Glendora Glendora Buell in conversation with BRIC's Tony Riddle
1-2:30PM: Colaborative Projects on the Potential of Collectivity
2:30-4PM: New Media Activism with Electronic Arts Intermix panelists (including Robert Buck, Tara Mateik, Carmel Curtis of XFR Collective, and Rebecca Cleman).
BRIC House Stoop / 647 Fulton Street / Brooklyn, NY 11217 / 718.683.5600 / bric@BRICartsmedia.org
"Public Access/Open Networks" exhibition at BRIC
["Public Access/Open Networks" exhibition at BRIC ]1
Featuring nearly 100 artists and over 17 hours of video!
March 23 - May 7, 2017 Tue - Sat, 10am-6pm; Sun, 12-6pm; Closed Mondays
In the late 1960s, visual artists experimenting with the new medium of video saw the potential of public access television to act as an open and uncensored platform for the creation and dissemination of their work. This exhibition will present both key and lesser-known figures who worked in the Public Access arena, as well as contemporary artists experimenting with the democratic potential of new media platforms on the Internet. The show highlights the historical relationships between community-produced media and political action, documenting the potential for social change and creative reimagining through this technology. B**RIC’s own Brooklyn Free Speech Public Access channels will be continuously aired in the gallery space, and a stage in the center of the gallery will act as a set for the production of new programming by BRIC’s community producers.
Historic and recent programming by: Alex Bag, Collaborative Projects, Jaime Davidovich, Tom Kalin, Glenn O’Brien, Nam June Paik, Paper Tiger Television, Raindance, Doug Hall, Chip Lord, Jody Procter, TVTV, Tony Ramos, and Martha Rosler. Contemporary artist projects by: Natalie Bookchin, E.S.P. TV, Ann Hirsch, Jayson Musson, Jon Rubin, Pilot TV, and URe:AD Press | United Republic of the African Diaspora (Shani Peters and Sharita Towne).
Curated by: Jenny Gerow, Assistant Curator at BRIC, in collaboration with freelance curators Reya Sehgal and Lakshmi Padmanabhan.
Exhibition Tours: Offered Wednesday mornings for groups and individuals.
Gallery at BRIC House / 647 Fulton Street (Enter on Rockwell Place) / Brooklyn, NY 11217 / 718.683.5600 / bric@BRICartsmedia.org
https://www.bricartsmedia.org/art-exhibitions/public-accessopen-networks
[blog post] Que Pasa? / What's Up? Protests in the Street
I'm in Mexico, so let's talk about NAFTA. Or the wall! Just kidding ... we're all inundated with politics so think of this as a short break from the horrors of our government's nefarious shenanigans (by looking at another government's shenanigans).
While public art and work of the storied Mexican muralists have been significant here (and around the world) for decades, 2006 marked a resurgence of art in the streets in Oaxaca. In June of that year, a theretofore annual teacher's strike ended violently and spurred masses of people to demand resignation of the Oaxacan state governor (e.g. Cuomo) and to express their strong opposition to the chronic problems of poor education, poverty, indigenous rights, environmental degradation, among others (sound familiar?).
Residency in Oaxaca
photo: © Laurie Price, 2016
The first three months of 2017, I’ll be living in Oaxaca, Mexico, where I’ll be drawing, writing my blog and practicing my Spanish. Should be fun! There have been numerous worker strikes and blockades in Oaxaca City (including deaths), but I’ll also certainly follow the disruptions in El Norte, so keep up the good fight! I’ll send out information about my blog upon first post, probably late January.
Julie Harrison, “War (Series),” 2014. Archival pigment print, 17″ x 42″
M/E/A/N/I/N/G: Final Issue Inclusion
My work is in the final issue of M/E/A/N/I/N/G: A Journal of Contemporary Art Issues, as the editors, Mira Schor and Susan Bee, celebrate their last 30 years of publishing this magazine by asking "some long-time contributors and some new friends to create images and write about where they place meaning today. As ever, we have encouraged artists and writers to feel free to speak to the concerns that have the most meaning to them right now."
It was initially posted of "A Year of Positive Thinking."
Click here and scroll down for my submission.
Spells, Issue 1: Dreams
Launch party Saturday, December 17, for a magazine that my work is in: Spells, Issue 1: Dreams, published by Irene Lee and Debo Mouloudji.
“The launch will be at The Emerson bar in Clinton Hill. There will be Tarot readings, temporary tattoos/body art, a reading, musical performance, an art show, a raffle, and magical goddess vibes to splendor in!”
“Spells: Dreams is a feminine compilation of art and writing that reflects on the magical and complex world of dreams.”
The Emerson, 561 Myrtle Ave, Brooklyn, NY 11205 (closest subway is the G at Classon Ave).
6:00-7:30 body art and tarot readings
7:30-8:00 Irene Lee reads original work featured in Spells
8:00-8:30 Open mic: Dream sharing/Dream anaylsis
8:30-9:00 Sasha Chang serenades us with a dreamy medley.
9:00-10:00 dance party and announcements of raffle winners
Stay after for The Emerson's weekly dj set!
A Book About Colab (and Related Activities)
The New York Times recently listed A Book About Colab (and Related Activities) as one of the top books of the year for art lovers. Check it out and buy it here (just in time for the holidays)! For those new to this website, I was an early member of Collaborative Projects, and my work is in this book!
"Books and Museum Treats for Art Lovers," by Roberta Smith, Randy Kennedy, and Ted Loos. The New York Times. The New York Times, 24 Nov. 2016. Web.
“A group of more than 40 artists who — in the Wild West that was New York City in the late 1970s and early ’80s — did things that now seem unbelievable.”
photo: c. Tom Warren, 1981-1984.
Design for Lunar Chandelier Press
The great Lunar Chandelier Press has me designing a book of poems by the talented Vincent Katz, called Southness. Keep your eyes peeled for a release party.
I'm also finishing up the design for A Picture of Everyone I Love Passes Through Me, a book of collages by Lynn Behrendt with text mixed by John Bloomberg-Rissman, remixed by Lynn Behrendt.
What a lovely collaboration to behold!
“With a feeling of a 21st century imagist soul, Vincent Katz reminds us that poetry can be used for many things: observation, personal declaration, and joy.”
Quadro Tonto (by VK)
I’d like to be a better person
I know that in their eyes I’m fine
that everything has been left in order
but in my own I fail at interval
I’m not enough there for people
I evanesce or my own desire’s paramount
but I also know it is within my power
to be a better person
I need only look into their eyes
instead of longingly down streetlights
of the limb-strewn boulevard
VOLKSWAGEN RECOMMENDS (by LB+JB-T)
Volkswagen recommends that you point your key fob at your chin, making your head a kind of organic radio transmitter, in order to boost the signal to unlock your car.
You have a spore in your brain: it moves. Pan holds back his cry; instead of “A Day in the Life of a Naropa University Writing Professor” — it is now: “A Day in the Life of a Monster.” Prepare for journeys to the ER; know that your guides will be Miss Piggy and meth and shadows. Highlights: a plate of foaming innards. A life-size silver stencil of Durga sitting on her lion on the side of a boxcar. And, if we dare, the sail will fill and the boat we are in begin to tilt and move.
We are all Palestinians now.
A Book About Colab (and Related Activities)
Edited by Max Schumann (New York: Printed Matter), 2016.
This is a wonderful book put together by Max Schumann from Printed Matter, and includes lots and lots of ephemera from various activities by Collaborative Projects, a group of artists I was involved with in the late ’70s/early ’80s.
BOOK PARTY & A MORE STORE
April 15, 5-7 @ Printed Matter
231 Eleventh Avenue NYC
In celebration of the book, Colab is re-creating the “A More Store” at Printed Matter from April 15–May 15. The store will feature artist multiples for sale at reasonable prices. I’m including a 5-postcard set (reproduced from work made with Robert Kleyn in 1983) ...
... and an edition of two prints of more recent work.
Mark your calendar for "Colab Talks" at Printed Matter on April 30, from 5–7.
"The Book Undone: Thirty Years of Granary Books"
September 8, 2015 – January 29, 2016
Columbia University Rare Books & Manuscript Library, New York, NY,
My work is included in this exhibition, a tribute to 30 years of publishing by Granary Books, which Columbia has archived and exhibited. Granary published two books of mine: Debtor’s Prison, created with Lewis Warsh (2001); and If It Rained Here, with Joe Eliott (1998).
A fantastic review of the exhibition, "A Publisher of Artist’s Books That Isn’t Bound by Convention" by Megan N. Liberty, was published in Hyperallergic in January.
"Fragments: Julie Harrison"
February 2 – March 2, 2015
A solo exhibition of work Wekalet Behna, Alexandria Egypt, hosted by Gudran for Art and Development.
