Photographer Mary Ellen Bartley will make a set of photographs using books from The Watermill Center Study Library as subjects. The photographs will be used to create a book of books, whose format and edition are yet to be determined. The books that Robert Wilson has left bookmarks and handwritten notes in are of particular interest, as they illustrate the way books can be used as inspirational sources and create layers of connection between artists, ideas, and places separated by time and geography. Rather than use the library for research, Bartley will interact with volumes that catch her eye and follow the connections that arise in studying them through her camera.
For the past six years, Bartley has been using books as subject matter in her photography. She recently had an exhibit featuring selections from several of her series at The Guild Hall Museum in East Hampton. For that exhibition, Bartley produced an artist catalogue with a small art press, Conveyor Arts, which inspired her to design a book that is an art piece in itself, a book of books. The Study Library at The Watermill Center is a perfect setting and source to explore the idea of a library of inspiration. Robert Wilson's library is a curated collection amassed over time and inextricably connected to his life, work, travels, community and collection. Rich with layers of use and potential, Bartley will explore its volumes and create a document adding her own layer of inspiration from it. The book created from this residence can then have its own place within the stacks when completed.
Mary Ellen Bartley is an American artist who was born in the Bronx and currently lives and works in Wainscott, New York on the eastern end of Long Island. Bartley is known for her photographs that explore the tactile and formal qualities of the printed book and their potential for abstraction. Her work has been exhibited widely in the United States and internationally, including the Parrish Art Museum in Water Mill, NY; the Center for Photographic Arts in Carmel, CA; Fototropia Gallery in Guatemala City, Guatemala; and at the galleries where her work is represented: The Drawing Room in East Hampton and Yancey Richardson Gallery in New York. Her first solo museum exhibition opened in the fall of 2014 at the Guild Hall Museum in East Hampton, NY.
Over a period of 3 years, Geoffrey Farmer has been developing a self-organizing, generative montage system that combines tagged sounds and images to create a non-looping film. Collecting images from various sources, discarded clipping libraries, as well as creating a sound library from field recordings, sound archives and sound libraries. Look in my face; my name is Might-have-been; I am also called No-more, Too-late, Farewell, combines and organizes this material into different taxonomies, juxtapositions and sequences using different organizing principles.
About Geoffrey Farmer
Geoffrey Farmer (b. 1967, Vancouver) currently lives and works in Vancouver, British Columbia. At once fragile and multiform, discreet and omnipresent, Farmer’s work is the product of simple yet strategic manipulations. It operates on the same level as everyday experience: simultaneously rational and chaotic, undeniably concrete yet shaped by the imagination. In a voice that combines poetry and social commentary, his work conjures and reactivates a variety of narratives drawn from history, popular culture, art history and social environments. It also reflects an interest in the exhibition itself – both its fictional power and its temporal component. Farmer focuses on particular features of these diverse sources, notably concepts of the work and process, transformation and performance.
His major installation Leaves of Grass is currently on display at the National Gallery of Canada, and included in Shine a Light: Canadian Biennial 2014. He was the 2013 recipient of the Gershon Iskowitz Prize, and has a forthcoming survey at the Vancouver Art Gallery in 2015. Recent major solo exhibitions include the touring exhibition Let’s Make the Water Turn Black exhibited at Pérez Art Museum Miami (2014), Hamburg Kunstverein (2014), Migros Museum für Gegenwartskunst, Zurich (2013), Nottingham Contemporary (2013); as well as Cut nothing, cut parts, cut the whole, cut the order of time, Casey Kaplan, New York (2014); Every Day Needs An Urgent Whistle Blown Into It, Art Gallery of Ontario, Toronto (2014); The Grass and Banana go for a walk, Catriona Jeffries, Vancouver (2014); and The Surgeon and the Photographer, The Curve, Barbican Centre, London (2013). Recent group exhibitions include The Intellection of Lady Spider House, Art Gallery of Alberta, Edmonton (2013); Triennale der Kleinplastik, Stadt Fellbach (2013); dOCUMENTA (13) (2012); Stage Presence, SFMOMA, San Francisco (2012); and the 12th Instanbul Biennial (2011).
Sculptor and performance artist Tamar Ettun directed an open rehearsal with the #MovingCompany as the second installment of a two-part residency at The Watermill Center. Following a winter residency that focused on research and preparation, this open rehearsal presented the development of "A Mauve Bird with Yellow Teeth Red Feathers Green Feet and a Rose Belly", a video and performance piece that deals with questions of movement and stillness. Ettun’s team of collaborators includes Movers Maia Karo, Tina Wang, Lisa Park, Rebecca Pristoop, Sabrina Shapira, Mor Mendel, Ivan Sikic; costume designer Ella Dagan; and sound engineer Or Zubalsky, with photography by Matt Grub, videography by Dan Rosen and Jeffrey Ayars, and web design by Other Means.
"A Mauve Bird with Yellow Teeth Red Feathers Green Feet and a Rose Belly" is a moving installation consisting of vast colors, everyday object assemblages, sound and a live performance to create a psychological changing landscape commenting on stillness and primal empathy. By composing sculpture with dancers, Ettun creates a sense of what she calls a “handheld history” examining the transformation of cultural and psychological narratives through the lens of personal accounts and perspectives.