In September 2011, Alice Yard will celebrate its fifth anniversary as an independent space for creative experiment. We mark the occasion with a programme of events that consider contemporary visual art’s engagement with performance: ACT 5.
As part of our anniversary programme, and continuing our ongoing participation in regional art dialogues, Alice Yard has invited a series of artists from the wider Caribbean to create site-specific actions.
The first of our anniversary artists-in-residence is Jamaican Ebony G. Patterson. On Monday 25 July, at 7 pm, she will present her work in progress 9 of 219. Both an installation and a performance, the work will stage a version of a “bling” funeral using the artist’s characteristic heavily decorated objects. Audience members are asked to participate by bringing candles to join in the vigil.
All are invited.
About the artist:
Born in Kingston in 1981, Ebony G. Patterson is a graduate of the Edna Manley College of the Visual and Performing Arts in Jamaica and Sam Fox College of Art and Design at Washington University, St. Louis. She is currently assistant professor in painting at the University of Kentucky. She has exhibited her work in several solo shows in Jamaica and the United States, most recently Ebony G. Patterson: On the Wall and in the Gallery at the Monique Meloche Gallery in Chicago; and in group shows including Wrestling with the Image: Caribbean Interventions at the Art Museum of the Americas, Washington, DC; the 2008 and 2010 Jamaica National Biennials; Rockstone and Bootheel: Contemporary West Indian Art at Real Art Ways, Hartford, Connecticut; the 2009 Ghetto Biennale in Port-au-Prince; and You Are Here at Fondation Clément in Martinique. One of her digital photographic works was included in Shot in Kingston at Alice Yard in September 2010.
Read a conversation between Patterson and Oneika Russell at sx space.
Entourage (2010; digital print, 204.5 x 306 cm), by Ebony G. Patterson
2 comments:
I love the Alice Yard.
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Congratulations,
Deolinda Aguiar
http://deolindaaguiar.com
As the performance was an experiment, I forgot to mention that the decoration of the coffins may be stereotypical of working class or the specific individuals that were represented.
As there are certain influences that drive working class aesthetics, at a very high quality
There may be reconsideration on how the coffins will be represented, or we will fall in the trap of type casting or branding specific bling culture to a working class, when bling culture can be seen in all class spaces, at some time or the other.
Dean Arlen
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