Gallery Aferro, Project for Empty Space, and Index Art Center are pleased to announce an official joint partnership for Newark’s Spring Open Studios, held on Saturday, April 13th, from 12-5pm, in Newark, NJ.
This collective invites the general public to come visit 75+ artist studios between our three non-profit anchor arts institutions. Between gallery/studio facilities we house creative practitioners ranging from photographers, to musicians, painters, writers, multidisciplinary artists and more.
This alliance came out of the natural shared interest to best serve both our artist community and our tristate area art enthusiasts. We’d like to capitalize on the fact that there is a wealth of artists within walking distance of one another that attendees can celebrate on one lovely Saturday. The day will culminate with an after party from 6 – 8pm at the Newark Print Shop, where artists and attendees from all three spaces can meet and celebrate. We look forward to welcoming all of you to engage with the arts in Newark.
For more information visit newarkopenstudios.org
THE BODY QUESTIONS: CELEBRATING FLAMENCO’S TANGLED ROOTS
INTERNATIONAL CONFERENCE, OCTOBER 15–16, 2018 NEW YORK CITY
The Foundation for Iberian Music at The Barry S. Brooks Center for Music Research and Documentation at the CUNY Graduate Center and the Department of Film, Media, and Performing Arts at The Fashion Institute of Technology are hosting a two-day international conference and flamenco performance festival in New York on October 15–16, 2018.
This interdisciplinary series of events, free and open to the public, fosters dialogue between scholars, flamenco artists, and audiences about flamenco as a diasporic and migratory art. We aim to articulate the work of dance in transmitting culture—including ideas about race—and to broaden understanding of the historical and political forces driving these processes. Marking the release of K. Meira Goldberg’s monograph Sonidos Negros: On the Blackness of Flamenco (Oxford University Press, fall 2018), The Body Questions will present research and experimentation which foregrounds the power of the body to question, to disrupt outmoded discourses of “authenticity,” and to work instead to relocate flamenco within a vibrant intersection of art as a celebration of diversity and agency against racism. We seek to identify, deconstruct, reflect on, debate, and ultimately reformulate our understanding of Spain’s impact on slavery, of dance as questioning and disrupting racism, and of flamenco as an Africanist art form.
On October 15, a performance festival, free and open to the public, will be held at Fashion Institute of Technology (FIT) in the Haft Theater (Feldman Center building). It features a screening of Miguel Ángel Rosales’s powerful documentary film, Gurumbé: Canciones de tu memoria negra(2016), telling the little-known story of slavery in Spain, along with a performance by Yinka Esi Graves, whose emergence onto the international stage is disrupting the “color barrier” in flamenco, and a conversation between Rosales, Graves, and renowned dance historian Dr. Brenda Dixon Gottschild (Digging the Africanist Presence in American Performance, 1996). Two additional concerts showcase a diverse group of black and brown flamenco dancers, whose work challenges us to see flamenco in a new light.
Gallery Aferro’s 5th Sustainable Arts Fellow (Fall/Winter 2019)
Michael K. Taylor is a project-based artist primarily developing interactive artworks using sculpture, performance, and audience interactivity. His artistic practice is founded in researching and experiencing communities, environments, and social theories as primary influences for narrative-based works. Material, color, line, and form are used as metaphors referencing a wide range of subject matter from observing physical movements of people within a community to re-articulating site-specific history into speculative fiction futuristic narratives.
Most recently, Taylor has been working toward bringing together his art-making, researching, and teaching into art projects that function as archives for art history and community experiences. In the last few years, he’s traveled to countries such as Japan, Haiti, England, and France doing research into institution, academic, and community archives.
As he’s continued his work over the years, his primary questions have been, what are some ways humans have creatively archived and shared the human experience outside of art-making and art history? Can those strategies and approaches be reincorporated into contemporary art practices and used to increase the accessibility of artists’ perspectives back into a diverse general public? Can I find creative ways to maximize that accessibility to under-served communities using sensory stimulating art strategies and aesthetics? He is now pursuing answers to these and other questions through his art-making practice.
Additionally as an experienced educator and performer, he is greatly interested in how art education and interactivity can function like a medium or media in an art practice that gives back to its audience.