Ian Weaver’s work utilizes drawing, sculpture and film to act as metaphors for fracture. He is interested in the construction of identity and memory, and how individuals and communities use commemorations and their archived personal/communal objects to represent these constructions. His work centers on the now defunct “Black Bottom” section of the Near West Side of Chicago where African American residents once lived. For this, he has constructed a fictive history for this destroyed community utilizing elements such as museum vitrines, maps and documents, sculpture, and film. Recently, he has extended this construction to the creation of a fictional group, the Black Knights – part medieval knight, part Black Nationalist – who lived within the community during the 1940s.
Residents from United States
Zeinab Shahidi Marnani
Shahidi Marnani’s recent work aims to facilitate dialogue concerning the issue of time. She employs alternative methods to create dialogue through the medium of text and video, applying the specifications of time-based media.
Zeinab Shahidi Marnani was born in Isfahan, Iran and she lives and works in Tehran. She received her MFA from Yale University in 2011 and her BFA from The Tehran University in 2007. She has shown her work at The Print Shop, MoMA PS1, New York; Thomas Erben Gallery, New York; Devi Art Foundation, India; Iranian Artists’ Forum, Tehran; design transfer gallery (UDK), Berlin; Tehran Museum of Contemporary Arts, Iran; The Haus der Kulturen der Welt (HKW), Berlin; PØST, Los Angeles; and Regina Rex, New York.
Residents from Iran
Paint has the binary ability to summon and refuse, reveal and conceal, beautify and debase. Aaron Collier’s work attempts to revel in these manifold offerings, for in so doing, the resulting imagery is consonant with our tangled interaction with the world. Routine are encounters marked by disclosure and obstruction; we happen upon phenomena that we are seemingly able to know, grasp, and understand along with those we fundamentally cannot. Paint fittingly pictures this paradox, for painting itself is an in-between act, a simultaneous doing and undoing. Collier’s paintings, drawing and collage, thus traffic more in fragment than in chronicle. Images that indefinitely “suggest” allow him to situate the viewer and himself as deferential participants, adventuring with the image.
Aaron Collier lives in New Orleans where is an Assistant Professor at Tulane University. Solo exhibitions include Cole Pratt Gallery and Staple Goods, an artist cooperative in the St. Claude Avenue Arts District. His work has been included in group exhibitions at the Contemporary Arts Center and the Ogden Museum of Southern Art and has been featured in New American Paintings. Collier’s paintings are represented in collections such as the Boston Medical Center, Iberia Bank and New Orleans Museum of Art. He has participated in residencies at the Joan Mitchell Center in New Orleans, Ragdale Foundation and Virginia Center for the Creative Arts.