Liz Clayton Scofield
August 7-31, 2021
Cloud Flag, nylon fabric, 2021
In conjunction with their solo exhibition, The play’s the thing, hosted inside of the gallery, Liz Clayton Scofield presents, Cloud Flag. Within this body of works they utilize the convention of a staged “play” to explore the ways in which identity can be viewed as a performance and through a relationship, between sculpture and video, they poetically design a DIY guide on social constructions related to living in a queer body.
About the Artist:
Liz Clayton Scofield
[they/them/their] is a cloud, an orange, and a sonnet, seeking like- minded nebulous accumulations, citrus fruits, and poetic forms to play with across skies, trees, and pages. They are an interdisciplinary artist, writer, wanderer, play advocate, and collaborator. Their creative practice involves a lived performance in collaboration with tiny toy versions of themself, where they explore how to play, how to be a cloud, how to connect with others, how to eat an orange, and how to love, among other things. Their work has been featured in publications including Number, Nashville Arts, Wussy, and Dinner Bell. Exhibitions and performances include Cucalorus Festival, SeedSpace, Fuller Projects, and Noise Gallery. They have been an artist-in-residence with Cucalorus, the School of Making Thinking, Lazuli, and the JHU-MICA Film Centre. They hold an MFA in digital art from Indiana University, Bloomington, and a made-up BA from Vanderbilt University.
July 3 – July 31, 2021
Hand of Action, Hand of Pause, embroidered fabric, 2021
Flags are tangible displays of identity, purpose, and pursuit. They define borders, carry intention, and transmit meaning. Hand of Action, Hand of Pause, is a flag about water protection. The central river flows, with the superimposed hand protective in front of it. The sun and moon stand in the same gold as the hand, symbolizing the natural interconnectedness necessary to the warrior presence, and the constant vigilance that must be maintained through cycles: day to night, from full moon to empty, across the years.The central eye is both witness and awareness, red like the protective border that edges the flag’s motifs. As a culturally assertive, action-oriented color in Wazhazhe symbolism, the color red used here is to call notice to the blood shed over water rights as beings have stood in the path of those who would desecrate the sacredness of land. Red also calls forth the matriarchal power and female energy that has been present within this struggle, with women as leaders who also flow in natural cycle.
Lastly, the white background is for purity, for embracing hope for the waters to remain so or to become pure again.
About the Artist:
Kelley’s civic and social practice work focuses on sustainability for artists at all levels, through creative placemaking, civic consulting, community development, advocacy, equitable access, and mentorship in the intersections of creativity, technology, and innovation, with a focus on activating creative community workspaces and creating space for creative disruption. They are a graduate of The Learning Lab, the Racial Equity in Arts Leadership Institute, and Vanderbilt’s Leading Innovation in Arts and Culture, and a member of the Metro Nashville Committee for Antiracism and Racial Equity. Driven by themes of communication and borderlands archivism, their work explores the ways in which people of color (especially those of mixed descent) navigate, generate, and hold space for cultural memory, traditional practices, place, and leadership in forward progress.
Cristina Molina + Jonathan Traviesa
May 15 – June 15, 2021
Florida Flags (from the Sad Tropics series), Archival pigment print on flag fabric
This series of 5 flags created by artists Cristina Molina + Jonathan Traviesa, will be raised in rotation and change each week of the exhibition. Originally exhibited as part of a photo + video installation titled, Sad Tropics, these flag works explore the idea of “utopian escape” and signify the “psychological landscape of paradise.” The exhibition’s title was inspired by Claude Levi-Strauss’s book Tristes Tropiques, and was featured in Art in America and BURNAWAY.
About the Artists:
Cristina Molina is a visual artist who hails from the subtropics of Miami and currently lives and works in New Orleans—two precarious terrains that have thematically influenced her practice. Spanning performance, video installation, photography, and textile design, Molina’s artwork is set amongst vulnerable landscapes both real and imagined. Using the language of magical realism, her artworks reshape and centralize little-known narratives to upend dominant histories.
Molina’s projects have been supported by the National Association for Latino Arts and Culture, The Foundation for Contemporary Arts and the National Endowment for the Arts. Last year, Molina was one of 61 artists selected for the national exhibition State of the Art 2020 at Crystal Bridges Museum of American Art. Previously, her work has been featured at the New Orleans Museum of Art, Contemporary Arts Center New Orleans, The Ogden Museum of Southern Art, The Polk Museum, New Orleans Film Festival, and Syros International Film Festival. From 2014-20 Molina was a member of the New Orleans artist-run project, The Front where she regularly curated artwork, and co-organized The Front’s annual juried film festival. Cristina Molina is Associate Professor and Gallery Director at Southeastern Louisiana University where she received the 2018 President’s Award for Excellence in Artistic Activity and is the current recipient of the Viola Brown Endowed Professorship in Visual Arts and Dramatic Arts.
Jonathan Traviesa is a photographer and artist living in New Orleans since the late 1990s, and has been teaching photography at Tulane University for the last five years. He has had numerous solo and group exhibitions in New Orleans, Philadelphia, Chicago, New York, and Tokyo. Traviesa is a founding member of The Front gallery and released his first book, “Portraits” with a concurrent exhibition at The Front during October and November of 2009. As part of Photonola, Traviesa received the New Orleans Photo Alliance’s inaugural Michael P. Smith Grant Award, and the Ogden Museum of Southern Art exhibited a selection of his portraits from the book. His work is collected publicly at the Ogden and at The New Orleans museum of Art and privately at the Jimmy Club, The Saratoga Collection, and The Paramount Building.
April 3- 30, 2021
Flag for National Days of Rest
Linen blend with appliqué, hand painted fabric dye, machine and hand stitching
63” x 36”
Jack Michael is an interdisciplinary artist, educator, public speaker, and adventure motorcyclist whose work studies the dynamics of utopian longing, ambition, and failure in the context of empathy. Since 2019, Michael’s studio practice has been organized around a living work of fiction titled, The Manual for Neocadia, and her Flag for National Days of Rest, is one in a series of flags, that she designed in response to this work which details a feminist eco-centric utopian society.