Sep
12
to Aug 1

2018-19 Studio Residency

I am excited to announce that I have been selected as one of 34 artists and artist collectives for Charlotte Street Foundation's year-long Studio Residency program. The residency tenure begins in September 2018 and runs through August 2019 and provides free studio and rehearsal space on the 6th floor Town Pavilion in downtown Kansas City. 

Of the 34 artists selected, 11 of the residents are performing artists, 6 residents are writers, and 17 residents are visual artists. 13 residents are returning for a second year in the program. This year’s jury includes Megan Kaminski (poet and professor at KU), Michael Miller (composer and professor at KCCC), Rodolfo Marron III (artist) and Aileen June Wang (Curator at Beach Museum of Art). 

 

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Charlotte Street Residency Open Studios
Apr
20
3:00 PM15:00

Charlotte Street Residency Open Studios


Join me in my studio for a reciprocal reading from 3:00 - 10:00 pm and walk around the studios to visit over 30 other artists participating in the 2018-19 Charlotte Street Studio Residency program.


Get behind-the-scenes insight on the creative process for many up-and-coming artists in Kansas City today. This is your opportunity to meet with the artists, learn about their work and processes, and enjoy free entertainment! Performing residents will showcases their work through free music, readings, performances and more. Open Studios is a free event that is family friendly and open to the public.

PARKING: Town Pavilion is walkable from the KC Streetcar line off of Main Street. Free parking is also provided by Commerce Bank. You can use the Commerce Bank parking garage located at 1025 Main Street/Commerce Bank. You can park anywhere that is not reserved so there will be lots of spaces available.

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Red Tide
Feb
23
12:00 PM12:00

Red Tide

Red Tide is a durational reading performed by exhibiting artist JE Baker during gallery hours on the final day of the exhibition Staging Ground at la Esquina Gallery (1000 W 25th Street, KCMO).

This text--which is one chapter in the the artist’s larger Bather’s Manifesto--uses the embodied experiences of floating, sinking, and swimming as framing devices to define the landscape as a medium of power and exchange, and to consider bodies of water as eyes of the Earth.

Gallery visitors are invited to enter and exit the performance at any time between 12:00 - 5:00 p.m. to experience a reading that will playfully meander through sources as varied as animal fables from the ancient Indian Panchatantra, optical silencing and afterimage, Roland Barthes’s theory of readerly and writerly texts, Inuit mythology, and trans-Neptunian space.

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Staging Ground Opening Reception
Jan
25
6:00 PM18:00

Staging Ground Opening Reception

Charlotte Street Foundation welcomes its first visual arts exhibition of the year, Staging Ground, in la Esquina Gallery, located at 1000 W. 25th Street in Kansas City, MO. The exhibition will run from Friday, January 25th through Saturday, February 23rd. The opening reception for the exhibition takes place on Friday, January 25 from 6:00 PM through 9:00 PM.

At 7:30pm, "I’m here. Now What?" will take place, which is a Performative Screening by Christopher Carroll and Lilly McElroy.

Friday, January 25, 2019
6:00 PM - 9:00 PM
The event is free and open to the public
la Esquina Gallery (1000 W 25th Street, KCMO)

“There does not exist a forest as an objectively fixed environment: there exists a forest for the park ranger, a forest for the hunter, a forest for the botanist, a forest for the wayfarer, a forest for the nature lover, a forest for the carpenter, and finally a fable forest in which Little Red Riding Hood loses her way.” – Giorgio Agamben, The Open: Man and Animal

In Staging Ground, the landscape is treated as subject, object, and location; a place for action, representation, and romanticization. Artists JE Baker, Carl Baratta, The Blue River Road Investigators (Trey Hock and Brent Jackson), Christopher Carroll, Rachel Frank, Jenny Kendler, Lilly McElroy, eduardo restrepo, and Rodrigo Valenzuela engage with the natural world using the landscape as a site for performance, intervention, fabrication, and exploration in order to address the storied relationship between humans and nature. These artists intrude upon a wilderness in which they can never completely belong, yet, drawing upon Agamben’s notion of shifting realities, they confront this separation, demonstrating their own reverential and at times hubristic tendencies in the process.

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Staging Ground
Jan
25
to Feb 24

Staging Ground

January 25 - February 23
la Esquina Gallery (1000 W 25th Street, KCMO)

“There does not exist a forest as an objectively fixed environment: there exists a forest for the park ranger, a forest for the hunter, a forest for the botanist, a forest for the wayfarer, a forest for the nature lover, a forest for the carpenter, and finally a fable forest in which Little Red Riding Hood loses her way.” – Giorgio Agamben, The Open: Man and Animal

In the landscape is treated as subject, object, and location; a place for action, representation, and romanticization. Artists JE Baker, Carl Baratta, The Blue River Road Investigators (Trey Hock and Brent Jackson), Christopher Carroll, Rachel Frank, Jenny Kendler, Lilly McElroy, eduardo restrepo, and Rodrigo Valenzuela engage with the natural world using the landscape as a site for performance, intervention, fabrication, and exploration in order to address the storied relationship between humans and nature. These artists intrude upon a wilderness in which they can never completely belong, yet, drawing upon Agamben’s notion of shifting realities, they confront this separation, demonstrating their own reverential and at times hubristic tendencies in the process.

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Sep
22
to Oct 22

Bad Editions (Third Edition)

Arrowhead Gallery at Waubonsee Community College

Sugar Grove, IL

Gallery hours: 
Monday – Friday: 8 a.m. – 9 p.m..
Saturday: 8 a.m. – 4 p.m.
Sunday: CLOSED

JE Baker, Matt Bodett, Jackson Bullock, Lauren Cardenas, Rachel Fenker-Vera, Kevin Goodrich, Millicent Kennedy, Annie Kielman, Marie Bannerot McInerney, Megan Sterling

Throughout history, printmaking processes have been used to reproduce and disseminate ideas by way of books, pamphlets, posters and even playing cards. Printmaking is a rigorous discipline that demands a set of strategies that will result in the creation of a matrix, which is then used to recreate—as identically as possible—the same image multiple times. Within contemporary art practice, the boundaries that once defined printmaking as a utilitarian reproductive technique have been experimented with, enhanced, modified, and sometimes even exterminated. Interdisciplinary methods of art-making have created collaborations between mark-making, material, surface and concept that beg the question: what is a print?

In Bad Editions (Third Edition), a series of artists reunite for the second time to explore the possibilities of printmaking as a process, as a philosophy and as an excuse for art-making. By incorporating strategies that deviate from tradition, the artists in this exhibition challenge printmaking to define itself broadly. These artists take traditional methodologies as a point of departure to question the limits of the print, the role of the edition and how printmaking techniques might inform other disciplines.

—curator Rafael E. Vera

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Bad Editions (Second Edition)
Jan
8
to Feb 2

Bad Editions (Second Edition)

  • NEIU Fine Arts Center Gallery (map)
  • Google Calendar ICS

JE Baker, Matt Bodett, Jackson Bullock, Lauren Cardenas, Rachel Fenker-Vera, Kevin Goodrich, Millicent Kennedy, Annie Kielman, Marie Bannerot McInerney, Megan Sterling

Throughout history, printmaking processes have been used to reproduce and disseminate ideas by way of books, pamphlets, posters and even playing cards. Printmaking is a rigorous discipline that demands a set of strategies that will result in the creation of a matrix, which is then used to recreate—as identically as possible—the same image multiple times. Within contemporary art practice, the boundaries that once defined printmaking as a utilitarian reproductive technique have been experimented with, enhanced, modified, and sometimes even exterminated. Interdisciplinary methods of art-making have created collaborations between mark-making, material, surface and concept that beg the question: what is a print?

In Bad Editions (Second Edition), a series of artists reunite once more to explore the possibilities of printmaking as a process, as a philosophy and as an excuse for art-making. By incorporating strategies that deviate from tradition, the artists in this exhibition challenge printmaking to define itself broadly. These artists take traditional methodologies as a point of departure to question the limits of the print, the role of the edition and how printmaking techniques might inform other disciplines.

—curator Rafael E. Vera

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