2017 Green Lantern Press + Sector 2337's Fall in Review

IMG_1050

Max Guy’s two-person adaptation of Werewere Liking’s “It Shall Be of Jaspar and Coral”, inspired by the formal techniques of Noh drama. How little can be done to embody a text? Max Guy, 2017, Third Annual Festival of Poets Theater. Photo by Caroline Picard.

 

"We define the genre of poets theater very broadly, and then rely on participants to broaden it. This year we wished to optimize the festival as a space for collaborative creation. Devin and I divided our curatorial efforts. Over the summer, we invited Chicago-based artists to a sort of study group focusing on the Ivorian writer, artist, dramaturge, and community organizer Werewere Liking’s “chant-roman” (song-novel) It Shall Be of Jasper and Coral. We studied its formal properties—the way it organizes itself based on “pages” rather than scenes or chapters; the way it includes dialogue, voice-over, philosophical interludes, and polemic; the way its politics are intensely “local,” regional, pan-African, and universal (feminist, post-colonial, anti-imperialist) all at once. The artists studied the text with us, and Devin and I then led a discussion of it. After further reflection on the paradigms of interest to the artists, they led another discussion of the text; the initiative gradually acceded to them. Meanwhile they would cast collaborators and generate pieces inspired by or responding to the text’s strategies. The festival becomes the site for a final, long form workshop, rehearsal, and performance of the piece. This method was meant to combine elements of a reading group, a poetry writing and playscript “workshop,” and the amateur-insurgent poets theater “jamboree” of San Francisco Poets Theatre." Patrick Durgin

“We define the genre of poets theater very broadly, and then rely on participants to broaden it…Over the summer, we invited Chicago-based artists to a sort of study group focusing on the Ivorian writer, artist, dramaturge, and community organizer Werewere Liking’s ‘chant-roman’ (song-novel) It Shall Be of Jasper and Coral. We studied its formal properties—the way it organizes itself based on ‘pages’ rather than scenes or chapters; the way it includes dialogue, voice-over, philosophical interludes, and polemic; the way its politics are intensely “local,” regional, pan-African, and universal (feminist, post-colonial, anti-imperialist) all at once… The festival becomes the site for a final, long form workshop, rehearsal, and performance of the piece. This method was meant to combine elements of a reading group, a poetry writing and playscript ‘workshop,’ and the amateur-insurgent poets theater ‘jamboree’ of San Francisco Poets Theatre,” Patrick Durgin, co-curator, Festival of Poets Theater, 2017.

 

IMG_1046

Dao Ngyen, “27 minutes. 9 overlapping horizontals,” (performance still), Third Annual Festival of Poets Theater, 2017.. Photo by Caroline Picard

 

IMG_1032

Josh Hoglund + Corina Copp present a past and present conversation about the future, which may or may not be interrupted by a chorus of unruly children. Third Annual Festival of Poets Theater, 2017. Photo by Caroline Picard.

 

IMG_1019

“His perfect past a glacier’s gray retreat / looped back out of phase with itself.” John Tipton reads with Mina Pam Dick within the August Robin/Bruce Nauman exhibition “The Hysterical Material” at the SMART Museum. Exhibition curated by Geof Oppenheimer; reading coorganized by The Green Lantern Press (Devin King), + Flood Editions (Michael O’Leary), 2017. Photo by Caroline Picard.

 

IMG_1018

“Sharing the weather is a supreme intimacy” Mina Pam Dick reads with John Tipton within the August Rodin/Bruce Nauman exhibit, “The Hysterical Material” at the SMART Museum. Exhibition curated by Geof Oppenheimer; reading coorganized by The Green Lantern Press (Devin King), + Flood Editions (Michael O’Leary), 2017. Photo by Caroline Picard.

 

IMG_1003

The Green Lantern Press launched its first-ever monthly pamphlet series, On Civil Disobedience. C0-edited by Fulla Abdul-Jabbar, Devin King, + Caroline Picard. Designed by J Dakota Brown and featuring the work of Stephen Lapthisophon, Nathaniel Mackey, Jeni(f)fer Tamayo, and others.

 

IMG_0967

The Performance of Wily Materials panel discussion with Giovanni Aloi, Rebecca Beachy, Caroline Picard, +Andrew Yang closes the Coming of Age exhibition as Beachy (exhibiting artist) seals her time capsule artwork “taxidermy bird with poem inherent, birds-nest, mud capsule” into the gallery wall of Sector 2337, Nov 2017. Photo by Caroline Picard.

 

IMG_0955

Sharmyn Cruz Rivera (GLP Assistant Curator) and Fulla Abdul-Jabbar (GLP Assistant Editor) sell Green Lantern Press publications at the Chicago Art Book Fair, 2017. Photo by Caroline Picard.

 

Screen Shot 2017-12-11 at 8.29.02 AM

Repost from @davistint instagram feed features Angela Fegan + Aay Preston-Myint at the Trunk Show + No Coast Editions event organized in tandem with the Chicago Art Book Fair, Nov 2017. #lavendermenace

 

IMG_2839

“There is forgetting a memory, not having a memory, withholding a memory and the amount that I hadn’t asked.” – Robin Deacon and Faith Wilding in Conversation. Photo by Samantha Yia Yao Chao.

 

Screen Shot 2017-12-11 at 8.36.08 AM

Repost from @uncivilizedcentaurddisharmony instagram feed features Jennifer Nelson after her reading with Alan Felsenthal + Geoffrey Hilsabeck, Nov 2017.

 

IMG_0939

“Nietzsche is never far when I am watching a film with Orson Welles.” Alain Jugnon in conversation with Patrick Durgin, Nathanaël, and Alison James; Broadcast by Brett Balogh. #ArtaudinAmerika. Photo by Caroline Picard.

 

Screen Shot 2017-12-11 at 8.30.01 AM

What possibilities emerge when the immediacy of the virtual verges on the historical?Documented Dialogues No. 7 is a conversation between curator Caroline Picard and artists Rhonda Holberton & Tsherin Sherpa. The conversation takes place within the exhibition Coming of Age at Sector 2337, and discusses the recontextualization of historical and formal heritages, the intersections of immaterial and material forms, and the capacity of attention to transport. Repost from @cacoalition instagram feed.

 

IMG_0930

“Smallness as the most radical space for velocity is where a lot of our ideas come from” Nadine Nakanishi + Nick Butcher of Sonnenzimmer. “Folding and Unfolding: Graphics, Human Nature and Surprise: A Conversation,” with Sonnenzimmer + Anders Nilsen, 2017. Photo by Caroline Picard.

 

IMG_2679

Anders Nilsen signs copies of his latest book, Tongues: Chapter One, 2017. Photo by Samantha Yi Yao Chao.

 

Screen Shot 2017-12-11 at 8.30.23 AM

Repost from @robindluzen instagram feed, features Samantha Yi Yao Chao performing Essi Kausalainen’s table top performance “Guardian” (2017) as part of the group exhibition, Coming of Age.

 

En Español: Poetry, Prose, and Polemics (Part of the Lit & Luz Festival): A reading and conversation featuring Cristina Rivera Garza with Carla Faesler, and guests

En Español: Poetry, Prose, and Polemics (Part of the Lit & Luz Festival): A reading and conversation featuring Cristina Rivera Garza with Carla Faesler, and guests. Photo by Samantha Yi Yao Chao.

 

IMG_2617

Matthew Reed Corey, Paula Cisewski, + Fred Schmalz after their Oct 2017 reading. Photo by Samantha Yi Yao Chao.

 

Screen Shot 2017-12-11 at 8.33.54 AM

Repost from @leonardzawadski instagram feed, features cameos of Dolly Lemki, Nathanael Jones, Jordan Scot, and (host) Devin King.

 

IMG_2572

“…by the shock of never knowing it so / when you were invested / Apostates” – Chris Glomski reads in our new bookstore with Mark Tardi + Emily Martin. Photo by Samantha Yi Yao Chao.

 

"Please send me your current dog walker recommendation." -Greg Ruffin + Brandon Alvendia in Public Access' publication launch, 2017.

“Please send me your current dog walker recommendation.” -Greg Ruffin + Brandon Alvendia in Public Access’ publication launch, organized by David Hall, with host Fulla Abdul-Jabbar, 2017. Photo by Samantha Yi Yao Chao.

 

Screen Shot 2017-12-11 at 8.31.44 AM









Ode to the National Parks Silent Auction

Featuring Alberto Aguilar, Andrew Bearnot, Manal Kara, Lou Mallozzi, Claire Sherman, Edra Soto, + Fereshteh Toosi.

Please note: Online bidding will pause on Thursday, Nov 30th @4pm and resume as a silent auction on Dec 1 at Sector 2337 until 10pm.

Follow links in image captions to bid on artworks.

Alberto Aguilar, "Drag feet through snow, define boundaries, work my way in. End at center." 2017. Inkjet print in hand painted frame. Image courtesy of artist.

Alberto Aguilar, “Drag feet through snow, define boundaries, work my way in. End at center.” 2017. Inkjet print in hand marked frame, 16 x 20″. Image courtesy of artist. Starting bid $125 / Estimated value $1,300. Bid on Aguilar’s work here.

 

Andrew Bearnot, Atmospheric Study (Acadia), 2017 7" x 20" x 3" Hand blown glass in carved wood mount starting bid $250 estimated value $140. Follow this link to bid on Bearnot's work.

Andrew Bearnot, Atmospheric Study (Acadia), 2017. 7″ x 20″ x 3″Hand blown glass in carved wood mount, 7 x 20 x 3″. Starting bid $250 / Estimated value $140.  Bid on Bearnot’s work here.

 

Manal Kara, with embedded whistles by Liz McCarthy, "The salience of prosody in first birdsong acquisition," 2017. Glazed ceramic, 15 x 11 x 6".

Manal Kara, with embedded whistles by Liz McCarthy, “The salience of prosody in first birdsong acquisition,” 2017. Glazed ceramic, 15 x 11 x 6″. Starting bid $150 / Estimated value $800. Bid on Kara’s work here.

 

Plank no. x, (2018, edition of 11), clear acrylic, loudspeaker, copper wire, sound. The object replicates one of Sector 2337’s floorboards, and includes a loudspeaker and mp3 player that produce the sound of torn paper. The object on display is a prototype of one of eleven pieces that collectively form the installation Planks. The buyer can select any one of the eleven from the exhibition, which will be available at its conclusion in April 2018. Starting bid: $300 Estimated value: $1,500 Bid on Mallozzi’s work here.

 

Claire Sherman, Cave, 2017. Image inset on 9x12" paper, Mixed media on paper. Image courtesy of the artist.

Claire Sherman, Cave, 2017. Image inset on 9×12″ paper, Mixed media on paper. Image courtesy of the artist. Starting bid $750 / Estimated value $1,500. Bid on Sherman’s work here.

 

Shelled Hennessy bottle, found bottle, air dry clay, hot glue, 7" x 7" x 4", 2017 courtesy of the artist.

Edra Soto, Shelled Hennessy bottle, 2017. Found bottle, air dry clay, hot glue, 7″ x 7″ x 4″. Image courtesy of the artist. Starting bid: $350 / Estimated Value: $650. Bid on Soto’s work here.

 

Fereshteh Toosi, "Phragmites australis 2," 2016. Van Dyke Brown photogram, 8.5 x 11, (unframed). Image courtesy of the artist.

Fereshteh Toosi, “Phragmites australis 2,” 2016. Van Dyke Brown photogram, 8.5 x 11″, (unframed). Image courtesy of the artist. Starting bid $25 / Estimated value: $250. Bid on Toosi’s work here.

 

About the Artists:

I will write this biography using 133 words but I won’t discover this number until I’m finished writing it. From this point forward he will speak in third person. Alberto Aguilar is a Chicago-based ___ist that uses whatever material is at hand to commemorate his exchanges and interactions. Aguilar’s work has been exhibited at the National Museum of Mexican ___, Museum of Contemporary ___ Chicago, Crystal Bridges Museum of American ___, the Queens Museum, Nelson-Atkins Museum of ___, Minneapolis Institute of ___, and the ___ Institute of Chicago. He currently teaches studio ___ at Harold Washington College where he also coordinates Pedestrian Project, a program dedicated to making ___ more accessible and available. In order to create slight confusion, he omitted the word art wherever it appears in this bio with one exception.

Andrew Bearnot (MFA, University of Chicago) is a materialist: he thinks with and through the substance of things. Informed by a background in material science (BS, Brown University) and glass (BFA, Rhode Island School of Design), Bearnot explores moments of transcendence in the everyday. After completing his undergraduate degrees, Bearnot helped establish and coordinate the Brown/RISD Dual-Degree Program. He was awarded fellowships from Fulbright and the American-Scandinavian Foundation for research on glass-making traditions in Sweden and Denmark. While completing his MFA, Bearnot received a Graduate Collaboration Grant from the Arts, Science, & Culture Initiative for his ongoing project Molecular Movement. He is currently a Post-MFA teaching fellow at the University of Chicago and artist-in-residence at the Hyde Park Arts Center.

Manal Kara is a self-taught artist based in Chicago, IL and Gary, IN, working in various media including ceramics, video, installation, tattoo, drawing, and poetry.

Lou Mallozzi (b. 1957) is an interdisciplinary artist whose work often focuses on sound, language, and acousmatics. During his more than three decades of interdisciplinary arts practice, he has performed, exhibited, and broadcast in a number of venues in the US and Europe, including the Museum of Contemporary Art Chicago, The Arts Club Chicago, The Renaissance Society, Randolph Street Gallery Chicago, Podewil Berlin, TUBE Audio Art Series Munich, Bayersicher Rundfunk Munich, New American Radio, Experimental Intermedia New York, Ausland Berlin, Radiorevolten Festival Halle, Constellation Chicago, and many others.

Claire Sherman (b. 1981 Oberlin, OH) received her B.A. from The University of Pennsylvania and her M.F.A. from the School of the Art Institute of Chicago. She has completed residencies at the Terra Foundation for American Art, the MacDowell Colony, the Marie Walsh Sharpe Art Foundation, Yaddo, The Albers Foundation, and the Lower Manhattan Cultural Council’s Workspace program. Recent exhibitions include solo shows at DC Moore Gallery, NY; Kavi Gupta Gallery, Chicago; KMAC Museum, Louisville; Houldsworth Gallery, London; DCKT, New York; Aurobora, San Francisco; and Hof and Huyser Gallery, Amsterdam. Recent group exhibitions include the Institute of Contemporary Art at Maine College of Art, Portland; Contemporary Jewish Museum, San Francisco; Suburban Riverwest, Milwaukee; Gallery Seomi, Seoul; The New Gallery, Austria; and the Neuberger Museum of Art, Purchase, NY. Sherman is an Associate Professor and Art Department chair at Drew University in New Jersey and is represented by DC Moore Gallery in New York and Kavi Gupta Gallery in Chicago.

Edra Soto (b. Puerto Rico) is a Chicago-based artist, educator, curator, and co-director of the artist-run outdoor project space THE FRANKLIN. She obtained her Master of Fine Arts degree at the School of the Art Institute of Chicago in 2000, as well as attending Skowhegan School of Painting and Sculpture, Beta-Local in Puerto Rico and the Robert Rauschenberg Residency Program in Captiva, Florida though a 3Arts Foundation Fellowship. Her work was featured at the 4th Poly/Graphic Triennial of San Juan and the Caribbean in Puerto Rico, Cuchifritos Gallery + Project Space and the Hunter East Harlem Gallery, in New York. She co-curated the exhibition Present Standard at the Chicago Cultural Center with overwhelmingly positive reviews from the Chicago Tribune, Newcity, PBS The Art Assignment and Artforum. She was recently featured in Newcity’s annual Art 50 issue Chicago’s Artists’ Artists and at VAM Studio 2017 Influencers. Soto was awarded the Efroymson Contemporary Arts Fel- lowship and the DCASE for Individual Artists from the City of Chicago. Recent venues presenting Soto’s work include: Sector 2337, The Arts Club of Chicago, the University Galleries at Illinois State University and Museo de la Universidad de Puerto Rico and the Pérez Art Museum Miami. Current and upcoming venues include: the DePaul Art Museum, Bemis Center for Contemporary Art, Omaha, (NE), Gallery 400 at UIC and the Museum of Contemporary Art of Chicago among others. Residencies attended by Soto this year include: Project Row Houses in Houston, (TX), the Kohler Art Center in Sheboygan, (WI), and the Headlands Center for the Arts in Sausalito, (CA). Her work has been exhibited both nationally and internationally.

Fereshteh Toosi designs experiences using hybrid approaches that combine images, sounds, movement, and found materials. Fereshteh’s participatory art work takes many forms, ranging from oyster mushroom sculptures, films processed in mint tea and yeasts, and guided walks about lithium. Fereshteh studied at Oberlin College and Carnegie Mellon University, where she earned an MFA in Interdisciplinary Art. She also holds a certificate in Environmental Urban Design from Archeworks in Chicago and is an active member of the Association of Nature and Forest Therapy Guides, the American Horticultural Therapy Association, and the National Association for Interpretation. Fereshteh is an Assistant Professor of Art at Florida International University in Miami, where she directs The Nature Connection Arts Lab, dedicated to exploring the connection between nonhuman and human health through contemplative art and creative research.

Call for Participation : Calling All Twins!

The Green Lantern Press + Sector 2337 is looking for twin siblings in the Chicago-region willing to donate their time and contribute to a wall installation for Lou Mallozzi.

Participants would only need to make one short visit to Sector during the first weekend of February, 2018. No art skills or practice required. The result of this installation will be presented in 1:1, Mallozzi’s upcoming solo show at Sector 2337 (Feb 2018-Apr 2018). 1:1 is the product of Mallozzi’s recent residency in Krems, Austria during which time he researched the Krems-Wachtberg archaeological excavations. On this site in 2005, archaeologists discovered the burial of two infants in a single, carefully prepared grave dating to 25,000 BCE. It remains the oldest example of infant burial found to date.Lou Mallozzi is a Chicago-based interdisciplinary artist whose work often focuses on sound, language, and acousmatics, taking the form of installations, performances, fixed media works, improvised music, and drawings.

This call is open to all age groups and gender expressions. Please share widely and, if interested, contact sharmyn@sector2337.com for more details.

2017/2018 Publications + Exhibitions

Forthcoming Publications

Subscribe to On Civil Disobedience!  On Civil Disobedience is a monthly pamphlet series co-edited by Fulla Abdul-Jabbar, Devin King, and Caroline Picard, where The GLP commissions writers from a range of professional backgrounds to contribute essays addressing the title topic. The series will recall historical precedents set by Thoreau, Gandhi, King, Arendt and others while considering the pamphlet’s important role in American revolutionary history. Filtering civic responsibility through the combined awareness of histories and disciplines, we hope these essays will ask how citizenship and resistance intersect within the pledge of democratic ideals. Designed by Dakota Brown, confirmed contributors thus far include Ravi Agarwal (Environmental Activism), Robin Blaser (Poetry), Romi Crawford (Race and Affect Theory), Ilona Gaynor (Design), Stephen Lapthisophon (Art and Theory), Nathaniel Mackey (Poetry), Abhishek Narula (Data Engineering), Nina Power (Feminist Theory), and Jennif(f)er Tamayo (Poetry). Subscribe to this series here and receive a copy of each issue in the mail. Shadowed! (Dec 2017) confronts the slippage of time and action within Ellen Rothenberg’s 2016 exhibition elsetime. Sweeping through the studio of Bertolt Brecht, Woodstock in the sixties, Berlin in the nineties, and the Syrian protests of today, Shadowed! projects a dispersive, unfolding temporality. Designed by Sonia Yoon, this book includes essays by Hannah B Higgins, Jeffrey Skoller, Shawn Michelle Smith, Caroline Picard, with additional contributions by Mark Booth + Becky Grajeda, Alexandria EregbuSimone FortiTerri Kapsalis + Anne Elizabeth MooreTim Kinsella, and Dao Ngyuen.

Elevated Threat Level (2017/2018) Rachel Galvin‘s new collection of poetry explores an ethical response to American comfort and its ties to war and exploitation. Rachel Galvin is a finalist for the National Poetry Series and Alice James Books’ Kinereth Gensler Award, and the author of Pulleys & Locomotion (2009). Her translations include Raymond Queneau’s Hitting the Streets (2013), winner of the the 2014 Scott Moncrieff Prize, and a forthcoming translation, with Harris Feinsod, of the work of Argentinian poet Oliverio Girondo. Her poems and translations appear in Boston Review, Colorado Review, Gulf Coast, MAKE, McSweeney’s, The New Yorker, and Poetry. She is an assistant professor at the University of Chicago.

Institutional Garbage (Spring 2018) presents the administrative residue of imaginary public institutions produced by artists, writers, and curators, in an effort to trace the private life of institutional endeavors. Edited by Lara Schoorl with support from Fulla Abdul-Jabbar and design by Pouya Ahmadi. Artists include Alberto Aguilar, Brit Barton, Mara Baker, Kevin Blake, Zippora Elders, Rami George, David Hall, Kuras + MacKenzie, Josh Rios + Anthony Romero, Michal Samana, Naqeeb Stevens, Tina Tahir, Anna Martine Whitehead; featuring writers Lise Haller Baggesen, Daniel Borzutzky, Isaiah Dufort, Patrick Durgin, Tricia Van Eck, Jane Lewty, Jill Magi, Nam Chi Nguyễn, Rowland Saifi, Suzanne Scanlon, Mia You + Maarten van der Graaf with Fiep van Bodegom + Obe Alkema; and curators David Ayala-Alfonso, Britton Bertran, Rashayla Marie Brown, Every house has a door, Lucia Fabio, João Florêncio, Stevie Greco, Jeanine Hofland, Renan Laru-an, La Keisha Leek, Sofia Lemos, and Vincent van Velsen.

Current + Forthcoming Exhibitions

Current Exhibition: Coming of Age features seven artists whose meditative practices torque scale, technology, and location in search of sustainable agency and repair. (More information on this show below).

Winter Exhibition: 1:1 Lou Mallozzi (Chicago) 1:1 is a site-specific installation based on two 2005 archeological excavations from the Krems-Wachtberg site in Vienna. The first included the burial of two infants in a single prepared grave dating to 25,000 BCE. The second is a piece of ivory from the same period with eleven painted stripes in red ochre. It is one of the oldest painted objects ever recovered. Molozzi’s installation explores archaeological methodologies and the physical forms they take; museum display strategies; the horizontal orientation required as archaeologists sift across thin topological layers that then becomes vertical as they dig down; and the presence and usage of red ochre; forensic cataloging; etc. A second part of the show occupies the entire southeast wall of the gallery consisting of a pencil-line grid divided into eleven sets of 20 squares each and contains the fingerprints of eleven sets of twins in the Chicagoland area.

Lou Mallozzi (b. 1957) is an interdisciplinary artist whose work often focuses on sound, language, and acousmatics. During his more than three decades of interdisciplinary arts practice, he has performed, exhibited, and broadcast in a number of venues in the US and Europe, including the Museum of Contemporary Art Chicago, The Arts Club Chicago, The Renaissance Society, Randolph Street Gallery Chicago, Podewil Berlin, TUBE Audio Art Series Munich, Bayersicher Rundfunk Munich, New American Radio, Experimental Intermedia New York, Ausland Berlin, Radiorevolten Festival Halle, Constellation Chicago, and many others.

Spring Exhibition: If the hours were already counted a video installation by Angelika Markul (Paris). If the hours were already counted was shot in Naica, a crystal cave in the Chihuahua desert. The crystal cave is now closed and no longer accessible to humans. Those who visited the Crystal Cave describe their experience as an encounter with something unearthly. The extraordinary beauty and deadly conditions determine this extraordinary experience and, more specifically, allow for a way to reach the limits of survival in terms both biological and aesthetic.The resulting video shows scientists trying to move and walk in the crystal cave, struggling with the warm temperature and the 99% humidity. In this labyrinth, we don’t know if there is way to get in or get out. What interests Angelika Markul, more that just the beauty, is the fascination it evokes as well as the scientific technology and aesthetic exploitation, which were applied in the extraction.Angelika Markul (b. 1977 in Poland) lives and works in France and Poland. Recent prizes include the Sam Art project, and COAL Prize. Among her recent shows: Sans réserve, Mac-Val, Vitry-sur-Seine, France, 2017; What is lost is at the beginning, CSW Zamek Ujazdowski, Warsaw, Poland, 2016; Take me I’m yours, The Jewish Museum, New York, United States, 2016; The State of Life, National Art Museum of China, Beijing, China, 2015; Immigrantes, Muntref – Centro de Arte Contemporáneo. Sede: Hotel de Inmigrantes, Buenos Aires, Argentina, 2015; Terre de départ, Palais de Tokyo, Paris, France, 2014; Inhabiting the world, Busan Biennale, South Korea, 2014.

Installation View of Lindsey Dorr-Niro's "This Land Again"

“This Land Again,” Installation image, Sector 2337, Chicago, 2017. Photo by Clare Britt.

Lindsey Dorr-Niro, “This Land Again,” Installation image, Sector 2337, Chicago, 2017. Photo by Clare Britt.

 

Lindsey Dorr-Niro, “Untitled” 2017. Fluorescent lights, light gels, wood, paint, gravel, 10.25 x 3.09 x 4.58 feet. Photo by Clare Britt.

Lindsey Dorr-Niro, “Untitled” 2017. Fluorescent lights, light gels, wood, paint, gravel, 10.25 x 3.09 x 4.58 feet. Photo by Clare Britt.

 

Lindsey Dorr-Niro, “Untitled” 2017. Fluorescent lights, light gels, wood, paint, gravel, 10.25 x 3.09 x 4.58 feet. Photo by Clare Britt.

Lindsey Dorr-Niro, “Untitled” 2017. Fluorescent lights, light gels, wood, paint, gravel, 10.25 x 3.09 x 4.58′. Photo by Clare Britt.

 

Lindsey Dorr-Niro, 2017. Photo by Clare Britt.

Lindsey Dorr-Niro, 2017. Photo by Clare Britt.

 

Lindsey Dorr-Niro, “This Land Again,” Installation image, Sector 2337, Chicago, 2017. Photo by Clare Britt.

Left to right: Lindsey Dorr-Niro, Mountain Range, 2017, Digital Print, 25×19.12″; Plat/form 2, 2017, Wood, recycled tire flooring, 6x10x3’; Stage, 2017, Digital Print, 25×19.12″. Photo by Clare Britt.

 

Lindsey Dorr-Niro, “This Land Again,” Installation image, Sector 2337, Chicago, 2017. Photo by Clare Britt.

Lindsey Dorr-Niro, “This Land Again,” Installation image, Sector 2337, Chicago, 2017. Photo by Clare Britt.

 

Left to right: Lindsey Dorr-Niro, Stage, 2017, Digital Print, 25×19.12″; Untitled, 2017, Looped video, 14min; Void Inverse, 2017, Digital Print, 14.37 by 20.50”. Photo by Clare Britt.

Left to right: Lindsey Dorr-Niro, Stage, 2017, Digital Print, 25×19.12″; Untitled, 2017, Looped video, 14min; Void Inverse, 2017, Digital Print, 14.37 by 20.50”. Photo by Clare Britt.

 

Lindsey Dorr-Niro, “Screen” 2017. Aluminum, plastic, tape, 5.33 x 9.50 feet. Photo by Clare Britt.

Lindsey Dorr-Niro, “Screen” 2017. Aluminum, plastic, tape, 5.33 x 9.50 feet. Photo by Clare Britt.