Archive for October, 2017

Strange Oscillations and Vibrations of Sympathy – Catalogue Release

October 21, 2017



My video work, The Sunshine Bores | The Daylights, was included in this exhibition last fall along with artists: Jen Bervin, Stephanie Brooks, Anne Collier, Bethany Collins, Moyra Davey, Marcelline Delbecq, Abigail DeVille, Eve Fowler, Dianna Frid, Coco Fusco, Sabina Ott, Melissa Pokorny, Kay Rosen, Carrie Schneider, Xaviera Simmons, Lisa Tan, Cecilia Vicuña, Catherine Wagner, Carrie Mae Weems, and Deborah Willis. The catalog (including texts and essays by Melissa Johnson, exhibition curator Kendra Paitz, Xaviera Simmons, Kay Rosen, Marcelline Delbecq, Cecilia Vicuña, Deborah Willis and Cheryl Finley) is now available via the University Galleries of Illinois State University.

An excerpt of the catalogue text describing my contribution follows:

[Woolf’s] texts are interspersed with still and moving images, sometimes split-screen, of leafless trees, right-side-up and upside-down, against blue and gray skies. All the while, the soundtrack alternates between silence and a woman’s voice repeatedly singing fragments of the phrase “The sunshine bores the daylights out of me” (which sounds like something Woolf may have written, but is not) as she builds phrases into the entire sentence. Her unaccompanied mellow and melodic voice slowly starts and stops, sometimes in off-register layers, in stark contrast to the Rolling Stones’ high-energy-sexually-driven performances of their 1972 song, “Rocks Off,” from which the lyric is quoted. Roe’s mashup of a Modernist’s written text, a classic rock group’s refrain, and her own artistic imagery peacefully washes in and recedes, much like a wave.

– Kendra Paitz, Lead Curator at University Galleries of Illinois State University

Steady Observation: The Intersection of Scientific Inquiry, Art, and Life

October 21, 2017

Conditions for an Unfinished Work of Mourning (Beauty as An Appeal to Join the Majority of Those Who Are Dead): Shadow of a Francoist Monument, 2017 (Digitized cyanotype)

Orlando Science Center
Orlando, FL
September 29 – December 31, 2017

For this venue, I’ve produced a large-scale wall installation consisting of 15, digitized cyanotypes printed to vinyl accompanied by a single-channel video. Also from the series, Conditions For an Unfinished Work of Mourning: Beauty As An Appeal to Join the Majority of Those Who Are Dead, this exhibition site offers an opportunity to introduce a significant portion of this work to the public.

Steady Observation is organized in conjunction with Time as Landscape: Inquiries of Art and Science, on view at the Cornell Fine Arts Museum during the same time period. The press release describes this exhibition as including artists who “form deep connections with the environment and in many cases, the structures and systems that affect the natural world. They are observers and investigators drawn to the obscurities and secrecies found and produced in diverse environments. The process of observation involves gathering of data, asking questions, and ultimately the development of varied hypotheses. Through focused and continued observations, new questions form and experiments continue.”

Steady Observation features selections from the permanent collection of the Cornell Fine Arts Museum and various loans. The list of artists in this exhibition includes: Brian Burkhardt, Anna Cruz, Brooks Dierdorff, Noah Doely, Luke Erickson, Andy Goldsworthy, Dina Mack, Trevor Paglen, Dawn Roe, Leah Sandler, Rachel Simmons, and Trine Søndergaard.

Find out more at the link below:

Time as Landscape: Inquiries of Art and Science

October 21, 2017


Cornell Fine Arts Museum at Rollins College
Winter Park, FL

September 29 – December 31, 2017

The work I was invited to produce for this exhibition consists of a single, digitized cyanotype mounted to aluminum. Part of a new and ongoing project, Conditions For an Unfinished Work of Mourning: Beauty As An Appeal to Join the Majority of Those Who Are Dead, this exhibition will serve as one of two venues for its initial display. The museum’s press release describes this exhibition as having been inspired by the practice of selected artists “who desire to understand, question and describe the subject of time: as scientific fact, as relative experience, as aesthetic archive.” The checklist includes artists: Darren Almond, Lucas Arruda, Rosa Barba, Luis Camnitzer, Julia Dault, Tacita Dean, Noah Doely, Spencer Finch, Camille Henrot, On Kawara, Tom LaDuke, Julie Mehretu, Trevor Paglen, Howardena Pindell, Thiago Rocha Pitta, Dawn Roe, Tomás Saraceno, Xaviera Simmons, Sarah Sze, Sara VanDerBeek, and Lawrence Weiner. A full color catalogue accompanies the exhibition and will be available from the Cornell Fine Arts Museum giftshop.

An excerpt of the catalogue text describing my contribution follows:

During a summer 2017 residency in Spain, near the border of France, Roe worked outside each day, exploring the natural terrain, its rocks, shadows, and natural vegetation. Like the groundbreaking artist Nancy Holt, who produced her own distinctive response to light and topography, Roe cultivates a personal relationship with nature—a bond that is dedicated, ongoing, and often tied to mourning [..]. In Catalonia, Roe further linked to the historical past and to memorials, the physical area covered by the artist encompasses the forests near the footpath where philosopher Walter Benjamin traveled before his suicide in Portbou. Roe resuscitates the past and sheds light on lesser known histories, specifically here, the role of a women in the creation of cyanotypes, a critical process to the development of photography’s history and recognition as an art form. Anna Atkins published British Algae: Cyanotype Impressions in 1843. A groundbreaking accomplishment by the British botanist, British Algae included more than 400 cyanotypes and became the first publication to solely illustrated by photography.

– Dr. Amy Galpin, Cornell Fine Arts Museum Curator

Visit the Cornell Fine Arts Museum website for more information: