Mary Mattingly is a visual artist. Currently, “Swale” is a floating food forest for New York. In 2015, she completed a two-part sculpture “Pull” for the International Havana Biennial with the Museo Nacional de Bellas Artes de la Habana and the Bronx Museum of the Arts. Mary Mattingly’s work has been exhibited at the International Center of Photography, the Seoul Art Center, the Brooklyn Museum, the New York Public Library, deCordova Museum and Sculpture Park, and the Palais de Tokyo. With the U.S. Department of State and Bronx Museum of the Arts she participated in the smARTpower project, traveling to Manila. In 2009 Mattingly founded the Waterpod Project, a barge-based public space and self-sufficient habitat that hosted over 200,000 visitors in New York. In 2014, an artist residency on the water called WetLand launched in Philadelphia. It is being utilized by the University of Pennsylvania’s Environmental Humanities program.
Farmhouse/Whorehouse: An Artist Lecture by Suzanne Bocanegra Starring Lili Taylor
“An illuminating theatrical portrait of the mind of an artist at work.” —New York Times on Bocanegra’s Bodycast
Versatile film and TV actress Lili Taylor (I Shot Andy Warhol, Six Feet Under) stars in Farmhouse/Whorehouse, the third in a series of playful, hybrid performance works by visual artist Suzanne Bocanegra. Part artist lecture, part memoir, and part cultural essay, Farmhouse/Whorehouse looks into the lives of Bocanegra’s grandparents on their small farm in La Grange, Texas, just across the road from the infamous Chicken Ranch—better known as “The Best Little Whorehouse in Texas” (perhaps the only place to be immortalized by a ZZ Top song, a hit Broadway production, and a film starring Dolly Parton). Through text, song, film, and video, this engaging work will take you on a rambling journey that considers back-to-the-land hippie communes in the 1960s, the contemporary homesteading movement, the invention of the pastoral genre, and the role of the prostitute in art with abundant wit and insight.
Artist Iñigo Manglano-Ovalle works at the intersection of nature, globalism, technology, and activism, and his projects find him frequently collaborating with partners in fields as far ranging as genetics, geology, and astrophysics. Manglano-Ovalle’s technology sophisticated sculptures and video installations use natural forms such as clouds, icebergs, and DNA as metaphors for understanding social issues such as immigration, gun violence, and human cloning. Born in Madrid in 1961, he is currently professor and chair of the Department of Art Theory and Practice at Northwestern University. Exhibiting in galleries around the world and participating in the Singapore, Liverpool, Sao Paulo, and Whitney Biennials, Manglano-Ovalle has received many awards, including a United States Artist Fellowship (2011), John D and Catherine T. MacArthur Foundation award (2001), and a Media Arts Award from the Wexner Center for the Arts, Columbus, Ohio (1997-2001).
Iñigo Manglano-Ovalle’s lecture at the Wexner Center for the Arts at Ohio State University followed by his conversation with OSU Department of Art faculty and students at Ann Hamilton Studio, Columbus, Ohio.
Faye Driscoll describes her dances as being like plays and installations. “Sets are designed to break apart, musical scores are made from performers’ stomps and voices, props are worn, used and reused for fantasy, excess, and loss. Performers sing, fight, frolic and make love in bursts, like rapid fire flipbooks of human emotion. Awkward virtuosic bodies teeter on the edge of high art and slapstick. A viewer feels a rollercoaster of joy, outrage, arousal and discomfort while performers hold a frank gaze that says, “You are me and I am you.” Embarrassment and exhilaration live side by side. I aim for an immersive world of sensorial complexity and perceptual disorientation. Through performers’ powerful exposure, heightened proximity, and at times physical connection with the audience, viewers feel their own culpability as cocreators of the performance. My work is a rigorously crafted group experience that comes off as improvised, chaotic and spontaneous.”
Faye Driscoll and company in conversation with OSU Department of Art and Department of Dance faculty and students at Ann Hamilton Studio, Columbus, Ohio, following her 2016 residency at Wexner Center for the Arts.
Faye Driscoll, Thank You For Coming work in progress
Hock E Aye Vi Edgar Heap of Birds was born in Wichita, Kansas, and works as a Professor of Native American Studies at the University of Oklahoma. Heap of Birds works in a range of media including painting, print, signage, sculpture, and installation, often using text as a means to confront American history and hegemonic privilege. In his artwork and community engagement, Heap of Birds demonstrates how art can serve indigeneity as a “cultural tool and weapon.”
Heap of Birds received a BFA from the University of Kansas in 1976 and an MFA from Temple University in 1979, and has exhibited nationally and internationally. He is the recipient of numerous honors, including grants from the National Endowment for the Arts, the Rockefeller Foundation, the Andy Warhol Foundation, and the Pew Charitable Trust. In 2012, Heap of Birds was named a Fellow of United States Artists.
In concordance with Howe’s lecture at Columbus College of Art and Design.
Terry Allen (b. 1943) is a visual artist and songwriter who was raised in Lubbock, Texas, and has worked as an artist & musician since 1966. His legendary story-telling is drafted from historical events, personal memories, theater, song and iconic images from both American TV and the American landscape. Allen’s narratives are endlessly evolving; a painting may lead to a sculpture, which morphs into a song that takes on many voices and becomes a theater piece or video installation.
Allen has received numerous awards and honors, including Guggenheim and National Endowment for the Arts fellowships and induction into the Buddy Holly Walk of Fame. His art has been shown throughout the United States and Europe and is represented in major private and public collections, including the Metropolitan Museum of Art, the Museum of Modern Art in New York, the Los Angeles County Museum of Art, and the Museum of Contemporary Art (MoCA) in Los Angeles. He has also recorded twelve albums of original music, including the classics Juarez and Lubbock (On Everything).
Terry recently installed a new work, Scioto Lounge, commissioned by the Columbus Art Commission at the Scioto Mile Park. An exhibition of related public commission drawings was shown at the Urban Arts Space in fall 2014.
Terry Allen sculpture in Columbus, Ohio
photo by Alan Jones