Opening Friday May 4, 6-9pm at Central Library
Diane Endres Ballweg Gallery
Inspired by Wisconsin prairies, which I found battlefields between different species and entities, I began to see human being as a part of landscape that in a way expresses a force. However, human actions themselves are so dramatic that they often eloquently tell a story solely with a certain bearing of their bodies, like a choreographed dance. In the past years, I have explored various ways to describe such stories with human figures. By describing them “as I’ve seen,” through their poses and settings, I tell my stories about humanity at a historical level and a personal level.
second floor Gallery
Gordon Revling: re/collection
A lifelong farmer and carpenter, my Grandpa enjoyed photographing his surroundings in light or humorous situations. He took hundreds of photos of family, life on the farm, and his carpentry work, but his favorite subject matter (or most willing) was himself. You could say, he was an early advocate of the selfie. I've focused on his self-portraits in this collection, taken approximately 1935 to 1950. We're fortunate to have this documentation of his life in central Wisconsin, and hope Grandpa's sense of mischief is apparent to the viewer.
First floor Gallery
Domestication Syndrome: Sewn and Sown on the Landscape
Domestication syndrome is a term often used to describe the suite of phenotypic traits arising during domestication that distinguish crops from their wild ancestors.
This work is about many things.
First, the labor of accumulating stitches in a piece of fabric, which is a lot like the labor of gathering raspberries, moving them one by one into a bucket until it is full. The needle is even a bit like the thorns on a raspberry plant- perhaps a thorn was the inspiration for the invention of the needle thousands of years ago. Or maybe it was a fang, or a pine needle. And that is the second and the third thing this work is about: possible origins and imagined possibilities.
Fourth, it is about loving the tools and materials long associated with women, because they are important in the context of human history and therefore something to be proud of.
And there are a few other things this work concerns itself with, such as...
...landscape, especially the midwestern agricultural landscape. Regularity and irregularity of form and shape.
...an alphabet of images and references: roots, needles, fruits, calyxs, hands, vessels, a criss crossing embroidery pattern. More.
Joey Fauerso is an artist and Associate Professor at Texas State University. Recently her work has been included in exhibitions at the Drawing Center in New York, The David Shelton Gallery in Houston, and Antenna Gallery in New Orleans. She lives with her family in San Antonio, Texas.
In Attendance, a six-minute video that splices earthy images of familial play with tactile, stark paintings and a serene ghostly long take of the ocean—all to a minimal metronomic score—euphoria and unease pervade. There is the sense and terror that things are always transitioning faster than one can process.
Drawing Battles, exhibited at the Drawing Center in New York, Southwest School of Art, She Works Flexible, and the Blue Star Museum of Contemporary Art, is a series of video works shot over the two year period I participated in the Open Sessions program at the Drawing Center. Consisting of eleven collaborative drawings, the pieces were made with my family and friends, reflecting a range of familial dynamics. Like a series of heated discussions, the drawings talk to, through, and over each other, with gesture and performance as the dominant means of expression.
Global Texts, Local Covers
Cartonera publishers are alternative cardboard-cover book presses first established in Argentina in the early 21st century as we witness the fast-paced development of new publishing technologies. They have been spreading throughout Latin America, Europe, and Africa, producing low-cost, hand-crafted books, and utilizing covers fashioned out of reused cardboard and other materials considered waste by our society.
Their publications include all genres of literature —especially poetry and short stories, children’s and young adult literature, graphic novels, and folk stories. Within non-fiction, they publish political or social essays, testimonial narrative among other texts. For the most part, the works are previously unpublished material by emerging writers. Titles are in a variety of languages, depending on the country in which each cartonera house is located. For example, their catalogs include works in Spanish, Portuguese, Catalan, Galician, French, Italian, English, German, Quechua, Náhuatl, Guaraní, Swahili, and Shangaan.
Cartonera books are sold at reduced prices and their production process brings together writers, artists, intellectuals, students, community members, marginalized and vulnerable social groups as well as all people interested in producing hand-made books. Despite their diversity, most of the cartonera publishers are characterized by their commitment to community work. Its rise is due in part to the simplicity of its practice, and largely to its opposition to unrestrained capitalism, anti-intellectualism and the over-marketing of the publishing world. Its playful and rebellious practice is a reminder that culture is a basic need and its value should not be measured in monetary terms or by profit margins.
This exhibit is a small sample of the cartonera publishers’ vast production. It will be divided in two groups of books showcased on the following dates: Children’s and Young Adult Literature (March 5-April 15) and Highly Unique Cartonera Books (April 16-May 31).
With a growing collection of over 1,300 volumes representing over 60 different cartonera publishers, UW-Madison’s Special Collections holds one of the largest and most comprehensive cartonera collections worldwide. For more information on this collection, scan the code on the right.
Paloma Celis Carbajal, Ibero-American Studies Librarian at UW-Madison and curator of the Cartonera Publishers Collection.
Saylín Álvarez Oquendo, founding member of the Mozambican Cartonera “Kutsemba Cartão” and UW-Madison PhD recipient.
For more information, please contact: email@example.com