“Call it a chromatic choreography thought and performed far beyond the pacific wall: emerging from the Chamorro villages, it’s layered in between the West Coast’s explosion of light and the East Coast where Lisa Blas has dwelled for so long. This chromatic choreography lives on in northern Europe, again between other chromatic spaces, the Giverny green and the Flemish grey. In this sense, since art can’t do more than formulate requests, ideals and desires, every canvas is a periphery that desires to temporarily be a centre, to capture the gaze and define an interior … until it passes to the next. These are dialectical canvasses: they mediate between the peripheries of the world, the periphery of vision and a centre that is nothing more than a transitory working of attention, somewhere between the free play of imagination and memory. Where have I seen this before and where do I want to see it again, for how long and where am I going from here?

Lisa Blas’s Peripheries invites you to grasp the sense of place, history and identity as a series of visual hemispheres that delineate the transitions of life in terms of colourful planes.”

Vlad Ionescu

In Quiet Motion: April 12 - May 11, 2024

Collectively, these artworks vividly express the perpetual flow and motion of nature, capturing its transformative essence through the interplay of ambient light, reflections, and color. Infused with feminine energy, each composition celebrates the ethereal beauty found in atmospheric environments, drawing inspiration from elements such as earth, water, and space. The fluid gestures, intricate layers, and physicality of their surfaces create an immersive experience akin to a swell that recedes, gradually revealing the layers beneath—a stirring of curiosity that encourages viewers to explore both the visible and concealed moments within ephemeral atmospheres.

Seeing Is Realizing There Is Always More to See

EFA Studios
323 West 39th St., New York, NY

January 24 – February 23, 2024
Opening Reception, January 24, 6 – 8 p.m.
Hours: Tue – Fri 12 – 5 pm

Lisa Blas
Sari Carel
Clare Churchouse
Billy Gerard Frank
Beth Ganz
Amir Hariri
Tooraj Khamenehzadeh
Lise Kjaer
Joyce Yu-Jean Lee
Negin Mahzoun

Curated by Sharon Kendrick

A screening of Billy Gerard Frank's film “Second Eulogy: Mind the Gap” will be held on February 22, 2024, from 6–8 pm. A closing reception will follow.

EFA Studios is pleased to present an exhibition of EFA-affiliated artists whose work reminds us that the act of perceiving can lead to the realization that there is a hidden depth or abundance of things yet to be seen or understood. The artists here perceive and share things that may be hidden in plain sight, suppressed, or living deep in their imagination.

PAUSE (PLAY), HORIZON

2020-2023

by 

LISA BLAS

from 23/04 - 28/05/2023

OPENING 

Sunday 23 April, 16:00-19:00 

2020___suspended time___2023

Rue de Bosnie appears on Google maps at an angle. Walking north from 76,4 in Brussels, the street intersects with Rue André Hennebicq at the roundabout. Here, one finds the New Hollywood café. Point your imaginary compass due west, and Hollywood, California, will eventually appear in the mind’s eye – where the sun, horizontality of the landscape and light’s reflectivity are in constant oscillation. 

PAUSE (PLAY), HORIZON is the quadrant of two horizons, geographical and biographical — and two periods of time, April 2020 and April 2023. As if folding the page of a book you were halfway through, and finding it again three years later, the narrative is re-remembered. Meanwhile, the interstices of daily life played out. 

At 76,4, I exhibit a painting spanning 2 x 4 meters. The viewer encounters a tilted curvilinear form with an oculus at the center. Similar to the aperture of a camera, the oculus is the space linking interior and exterior, the spectator and the object in view. In March 2020, the oculus shape emerged for me while painting at dawn — the view through my apartment windows, weather conditions, the western sky meets the Hudson River, forming a horizon line with the New Jersey shoreline. Horizontal divisions of space eventually gave way to curvilinear forms with a lacuna radiating at the center. These daily viewpoints accrue in time and space, and in memory — color appears and disappears through an infinity zone. I define them as “afterchromes”.

***

76,4

24, rue de Bosnie

1060 Saint-Gilles, Brussels 

Permanently visible from the street.

Hosted by Michel François, Ekaterina Kaplunova, Juan Pablo Plazas and Richard Venlet.

***

Opening Reception: February 1, 2023 | 6-8pm

On view: February 1 – March 5, 2023
Open Daily, 10am–6pm
Closed February 20, 2023

New York Academy of Art
111 Franklin Street
New York, NY 10013
212-966-0300

 For inquiries please contact:
exhibitions@nyaa.edu

Social Photography X
Extended: December 8 - February 12, 2023

Prints available for purchase:
* carriage trade
1 print: $75.00
2 prints: $120.00 (use promo code: 2/$120 at checkout)
3 prints: $150.00 (use promo code: 3/$150 at checkout)

Presented against the backdrop of the twin meltdowns of a social media platform and a cryptocurrency, this 10th anniversary show of Social Photography comes at a time when the progressive reputation enjoyed by the tech industry might warrant some skepticism. While a neo-robber baron browbeats his newly acquired workforce into submission or exile, ostensibly for the good of a “digital town square”, in the same week a financial guru, after evaporating billions in investor funds almost overnight, shrugs off the staggering losses with a sheepish, "I’m sorry".

Propped up by fawning news stories that celebrate novelty and personality over reason or logic, the insidious effect of the world wrought by the anointed power brokers of tech dictates as much of our behavior as we’ll allow. Embracing consumer friendly devices that subject us to behavioral experiments and perpetual tracking, our “digital exhaust”, largely invisible to us, is magically turned to gold by legions of tech workers guided by the speculative bets of tech entrepreneurs.

Begun before most cell phones in use were considered “smart”, the first Social Photography show took place more or less at the inception of visual information as fodder for the experience economy. In late 2010, with cell phone pictures little more than a novelty stored within the limited technological capacity of flip phones, the gargantuan image mill of Instagram had yet to kick into full gear. Searching for an alternative to the benefit raffle exhibition which asks time and materials in the form of donated artworks from artists while offering little in the way of a collective aesthetic, Carriage Trade solicited a couple of hundred cell phone pictures from its community of artists, writers, curators, students, and neighbors, formatting and printing them and presenting the whole in a grid, with proceeds from sales going to support the gallery’s non-commercial mission.

What began as a novelty eventually became a tradition, with evolving participants reflecting the growth of the gallery’s audience, while many of the gallery’s regular visitors returned for each show. As the societal consequences of social media became more clear, the show started to represent a kind of alternative, a "progressive anachronism" where the pictures we take on our phones are shared online and printed out and shown in a physical space, without suffering the pressure to accumulate visible status symbols in the form of hearts, or doled out based on a corporation’s statistical analysis of our preferences.

Arranged chronologically based on when the gallery receives the emailed image, from the start the goal was not to promote cell phone photography, but to take its measure on an annual basis; an informal assessment of how people (both artists and non-artists) are engaging with this relatively new image technology and its inevitable evolution. Now in its tenth year, and over two thousand unique pictures later, the original emphasis of the show, one of sensibility over professionalism or mastery, seems to have prevailed, while the impressive advances of cell phone technology rival point and shoot cameras, offering immediacy and spontaneity with little compromise in image quality.

carriage trade is a NY-based non-profit art space that was founded in 2009. Through presenting primarily group exhibitions, carriage trade functions not as a means to promote the careers of individual artists, but to provide contexts for their work that reveal its relevance to larger social and political conditions prevalent today. The exhibitions combine well known with lesser known artists, and historical pieces with very recent work, often integrating relevant found (archival) material as a means to broaden the scope of an art exhibition by positioning the "evidence" of everyday experience in direct relation to an artist's mediation of social conditions.

Thanks to Uillinn: West Cork Arts Centre and Skibbereen Arts Festival for their support of my artist residency (June-July 2022) and this workshop.

Jamie Ashforth, Lisa Blas, William Bock, Hazel Cardew, Seiko Hayase, Sarah Iremonger, Tomasz Madajczak, Kate McElroy, Mary Sullivan, Mary-Ruth Walsh, Tommy Weir

Opening: Saturday, July 23rd, please join us!

Re:Group | Fragments in Constellation
July 23 - August 1, 2022.
The O'Driscoll Building, Levis Quay, Skibbereen, County Cork.

Opening : July 23, 2022 | 12:00-2:00 pm.
Artist talk: July 23, 2022 | 12:30 pm.
Re:Group celebration: July 30, 2022 | 4:00-8:00 pm.
Open daily: 12:00-3:00 pm, or by appointment.
Visual Artists Ireland

PRESS RELEASE

Over two years ago, a group of artists were brought together on Zoom to meet and chat, via insightful programming @uillinnwestcorkarts, in response to the Covid-19 lockdown. Through our monthly meetings (11:00 am GMT / 6:00 am EST), and varied discussions, we found shared affinities in life and art — sensitivities to how the pandemic was unfolding for each of us, individually and collectively — from our disparate locations. We were, in effect, experiencing similarly challenging conditions, postponements, cancellations of work and professional activities. Amidst this backdrop of global isolation, eleven of us formed @_regroup — An international artist collective stretching across borders, oceans, and islands. We invite you to join us for the opening of "Fragments in Constellation", a collaborative space of installation, workshops and performance.

#regroup & #fragmentsinconstellation is supported by: @uillinnwestcorkarts @skibbereenartsfestival @corkcountycouncil @artscouncilireland

Re:Group: @jamie_ashforth @lisablas_studio @bockworks @hazelcardew @ricardseiko.art @sarahiremonger @tomaszmadajczak @kate_mcelroy_ @maryksullivanart @maryruthwalsh @tommyweir

Event by Uillinn: West Cork Arts Centre
Artist in Residence: Lisa Blas - Open Studio - Lisa Blas | Routes to Oceania | fighte fuaighte

Saturday, July 16, 2022 | 1:00 pm to 4:00 pm GMT

Skibbereen, County Cork, P81 VW98, Ireland
Phone: +3532822090 | Email: info@westcorkartscentre.com

As an artist-in-residence at Uillinn: West Cork Arts Centre during June-July 2022, I am working on a site-specific body of work that draws upon the Irish language, local color, weather, light and the history of Irish landscape painting. On July 23, I will exhibit paintings in the group exhibition, Fragments in Constellation, as part of the artist collective, Re:Group. On July 28, Dawn Studio will be on site, at a special location in West Cork where the sky meets water. I will host a painting workshop beginning at sunrise, free and accessible to the local community. Further details on Re:Group’s exhibition and registration for my public engagement workshop can be found via Skibbereen Arts Festival and Uillinn: West Cork Arts Centre.

Since March 2020, I have concentrated my artistic interest in the concept of the oculus, a portal of light connecting interior space to the outer environment. The shape emerged for me as I undertook Dawn Studio, an ongoing daily painting practice I commence at sunrise everyday. The paintings are made on mid-sized watercolor paper and aquaboard panels using watercolor, iridescent pigment, metallic ink and gouache, that inform larger paintings on canvas with acrylic ink, watercolor pencil, interference and acrylic paint.

In these early morning hours, I begin by looking out the windows at the changing light and color over the horizon and Hudson river: a meeting of sky and water that dramatically shifts through the seasons and weather. These views create multiple afterimages – residues of the morning light that remain in my eyes. Using fluid brushwork, I create curvilinear shapes with a glowing lacuna at the center. This gap, which I identify as an oculus, is an interior space that oscillates, attempting to merge with its surroundings. Its center is unstable, like the eye of a hurricane that changes shape or direction suddenly. These forms hover between abstraction and representation, yet refer distinctly to place.

Lisa Blas | Skibbereen, Ireland
July 12, 2022

I am currently Artist-in-residence, at Uillinn: West Cork Arts Centre, Skibbereen, Ireland, June - July 2022. While in the region, I am working on a site-specific body of work that draws upon local color, weather, light, and the history of Irish landscape painting. Parallel to this research, I am thinking about the notion of islands that embody personal and communal origins, formal circularity and interstitial spaces on the periphery.

In July, Dawn studio will be on site, in a special location where the sky meets water. I will host a painting workshop at sunrise, free and accessible to the local community. Stay tuned for further details on my public engagements and Open Studio via Instagram and Uillinn: West Cork Arts Centre.

Social Photography IX
August 5 - September 30, 2021
Opening Tonight, 4-8pm

carriage trade

277 Grand St, 2nd Fl.
New York, NY 10002
646-863-3874
Thursday-Sunday, 1-6pm

Online Sales: socialphotography.carriagetrade.org
1 print: $75.00
2 prints: $120.00 (use promo code: 2/$120 at checkout)
3 prints: $150.00 (use promo code: 3/$150 at checkout)

Now in its ninth year, Social Photography brings together cell phone pictures of participants from a wide range of disciplines, generations, and places. In the spirit of broad access to cell phone image making technology, the emphasis of the project leans toward sensibility and the anecdotal over skill and mastery of the medium of photography.

Taking advantage of technologies that allow for images to be sent from anywhere, which are then formatted, printed, and displayed in an in-person exhibition at carriage trade, the range of participants in Social Photography reflect both the gallery’s community in Lower Manhattan as well as those associated with it in other parts of the world. Linking the virtual with the physical through an online display that is then presented in print form, Social Photography IX might be seen as a counterpoint to the increased placelessness of remote exchanges normalized in the pandemic-era.

Spanning nearly a decade, the growing, informal archive of Social Photography cell phone pictures occasionally reflect significant local, national, and international events (Occupy Wall Street, George Floyd protests, U.S. presidential elections, pro-democracy demonstrations in Hong Kong) existing side by side with the everyday, the personal, the urban, and the domestic.

About carriage trade :

carriage trade is a NY-based non-profit art space that was founded in 2009. Through presenting primarily group exhibitions, carriage trade functions not as a means to promote the careers of individual artists, but to provide contexts for their work that reveal its relevance to larger social and political conditions prevalent today. The exhibitions combine well known with lesser known artists, and historical pieces with very recent work, often integrating relevant found (archival) material as a means to broaden the scope of an art exhibition by positioning the "evidence" of everyday experience in direct relation to an artist's mediation of social conditions.

The rigorous programming at Carriage Trade continues to deliver thought provoking exhibitions and scholarly inquiries into the role of art and culture today. Please consider supporting this unique non-profit institution of the Lower East Side and the art community that sustains it.

Carriage Trade
277 Grand Street, 2nd floor,
New York, NY 10002
646-863-3874

Please Note: 

We're following the standard health protocols (masks, social distancing, etc.) and will limit attendance to four to five people at a time. Appointments can be made via See Saw. 

If you're nearby and want to know if there's room in the gallery please feel free to call us
at 646-863-3874.

Social Photography VIII

Gallery Exhibition: Now Open
August 5 - September 20, 2020
Hours: Thursday - Sunday, 1 - 6 pm

Online Sales
socialphotography.carriagetrade.org
See details on purchasing below*

Carriage trade is pleased to present Social Photography VIII, the eighth installment of carriage trade’s cell phone photography show. While Social Photography is not guided by an all-encompassing theme, each year’s collection of pictures becomes an informal archive reflecting a range of recent social experience. Taking place in the midst of significant societal vulnerability and political conflict across the U.S., this year’s show presents an opportunity to recognize the importance of the ordinary or everyday in the face of the extraordinary, while also perhaps indicating a certain amount of resilience among the contributors, given the practical and emotional demands of a very uncertain moment.

Cell phones have become a kind of appendage for many, offering the ability to communicate, track, record, and archive every experience, then routinely feed the results into a social media stream. With its scrolling, "bottomless" format encouraging impulsive interaction, a perplexing mix of the anecdotal, the self-promotional, and the politically urgent coexist without perceptible context. Largely indifferent to codes of ethics or aesthetics, all content is subjected to peer rating systems and shifting algorithms that target the user based on their "stimulus patterns", while the split second experience of the social media image guarantees a short shelf life as it perpetually fuels the insatiable appetite of the attention economy.

As an eight plus year project, Social Photography has evolved with cell phone technology and in parallel with the development of social media. What began as an investigation of a novelty medium which simultaneously offered an alternative to the conventional non-profit benefit exhibition has become a kind of tradition, as it sustains and expands carriage trade’s community through its many participants, while helping support upcoming projects. While cell phone images are generally "unstable" through their constant movement within digital platforms, Social Photography links the cell phone picture’s virtual origins to an in-person gallery experience.

Providing a platform for a medium whose relationship to the history of photography remains unclear, Social Photography also exists as an expression of ambivalence towards the professionalization of the image, as well as the hierarchical codes that might restrict our reception of a photograph. While the exhibition has never been thematic and has instead maintained some detachment with respect to content, given the magnitude of current events, the 2020 iteration of Social Photography may reflect the tenor of the times more than most. Considering the degree of uncertainty and tension now present in many people’s lives, we wish to express our enormous gratitude to all who have contributed to this year’s show.

*Preview begins Monday, July 20 at 12 PM / Online sales begin Tuesday, June 21 at 2 PM

1 print: $75.00
2 prints: $120.00 (use promo code: 2/$120at checkout)
3 prints: $150.00 (use promo code: 3/$150at checkout)

socialphotography.carriagetrade.org

Wednesday, October 2, 2019
6:30 p.m.

George Washington University
Smith Hall of Art
801 22nd St. NW
Room: 114
Washington, DC 20052

Lecture organized by the Visiting Artists and Scholars Committee (VASC)
GWU contact: cahist@gwu.edu

Further information:
Fall Arts Guide:

Meet me tonight to see the work of many artists, friends, and support future programming for this non-profit gallery in the Lower East Side.

Opening: 6 - 8 pm | Tuesday, July 9, 2019
Carriage Trade, 277 Grand Street, 2nd floor, New York, NY 10002

Prints are available in the gallery and online:
socialphotography.carriagetrade.org

“First presented in 2011, carriage trade's Social Photography exhibitions have become both a tradition and an ongoing survey of cell phone camera use. What began as a novelty medium seven or eight years ago now provides currency for the $100 billion picture mill of Instagram, which funnels 95 million images a day through its social media network via opaque algorithms that determine the order and context of what we see.

Unlike social media formats on our phones which encourage endless scrolling through a "bottomless bowl" of images, Social Photography cell phone pictures exist both online and in the gallery. Faced with a group of photographs in the exhibition space, any of which can draw one's attention or focus, accidental associations present themselves through proximity (their order is based on when images are emailed to the gallery) underscoring the alternative of seeing cell phone images in a physical setting free of social media filters.”

SPINE explores the mental and physical structures of a book and questions what is legible, optical, physical, emotional or cerebral. Reading is viewing and occurs any time anyone engages with visual art but it also happens when we’re handling and engaging with books as objects. Printed media lives in the realm of the physical and the private with a spine functioning as an interruption, an intersection, a fulcrum and a central structure, often simultaneously. The works presented in this exhibition question what is shared when the private act of reading becomes public. 

MARQUEE PROJECTS
presents

  LISA BLAS
 
 TYLER HEALY

 PAUL WEINER

Flag Me Down, Pick Me Up

Opening Reception: Friday, November 30, 2018

6pm - 8pm

On View: November 30 - December 31, 2018

MARQUEE PROJECTS is pleased to present Flag Me Down, Pick Me Up, a group exhibition featuring recent artworks by Lisa Blas, Tyler Healy and Paul Weiner. A reception for the artists will be held on Friday, November 30th from 6pm to 8pm. 

The artists brought together in this show will exhibit work that shares a common interest in the use of the American flag. Flags, in general, have much to do with traditional tribal tendencies and notions of identity: the idea of “us versus them.” But in today’s heated political climate it’s “us versus us,” with divided factions claiming that their allegiance to America is stronger than that of others. This exhibition hopes to bring about greater dialogue on what role the American flag, and what it signifies, now play. Can we pick up the pieces, strive to reduce conflict, and promote a greater sense of unity, peace and equality? 

Contact: Mark Van Wagner and Tonja Pulfer:
 INFO@MARQUEEPROJECTS.ORG
MARQUEE PROJECTS
14 Bellport Lane, Bellport NY 11713
(631) 803-2511
 

For the opening of Under Erasure, curated by Heather + Raphael Rubinstein at Pierogi Gallery. The curators have designed a beautiful website featuring the curatorial text and work of all artists/writers/collaborators. The exhibition will be on view through January 6, 2019. (Catalog available).

Opening Reception:
Wednesday, 28 November, 2018.
5:00 - 8:00 pm.

Pierogi Gallery | 155 Suffolk Street
New York, NY 10002

28 November, 2018—6 January, 2019

Joe Amrhein | Jenni B. Baker | Jean-Michel Basquiat | Heather Bause Rubinstein | Joshua Beckman | Gene Beery | Jen Bervin | Charles Bernstein | Luca Bertolo | Joseph Beuys | Lisa Blas | Mel Bochner | Ariana Boussard-Reifel | Pierre Buraglio | Doris Cross | The Deletionist.com, Amaranth Borsuk + Jesper Juul + Nick Montfort | David Diao | Peter Gallo | Dana Frankfort | Guerilla Girls | Harmony Hammond | Jane Hammond | Ann Hamilton | Matthea Harvey + Amy Jean Porter | Christian Hawkey + Uljana Wolf | Charline von Heyl | Dennis Hollingsworth | Janet Holmes | Jenny Holzer | Emilio Isgrò | Samuel Jablon | Ray Johnson | Ronald Johnson | Kim Jones | Joseph Kosuth | Cody Ledvina | Tony Lewis | Glenn Ligon | Mark Lombardi | Travis Macdonald | Suzanne McClelland | Arnold Mesches | Dan Miller | Donna Moylan | Kristen Mueller | Loren Munk | Bruce Nauman | Joshua Neustein | Nina Papaconstantinou | Bruce Pearson + Mónica de la Torre | M. NourbeSe Philip | Tom Phillips | Niina Pollari | Richard Prince | Edouard Prulhière + Raphael Rubinstein | Sylvia Ptak | Archie Rand | Stephen Ratcliffe | Robert Rauschenberg | Srikanth Reddy | David Reed | Ridykeulous + AL Steiner + Nicole Eisenman | Mary Ruefle | Jerry Saltz + Anonymous Artist | David Scher | Mira Schor | Teresa Serrano | John Sparagana | Antoni Tàpies | Shane Tolbert | Betty Tompkins | Jim Torok | Xiaofu Wang

Please join us Saturday, October 20th, for the opening of Spine, at Ortega y Gasset Projects, in Gowanus, Brooklyn!

Ortega y Gasset Projects
@ The Old American Can Factory
363 Third Ave, Brooklyn, New York 11215
NOTE: Enter at Third Avenue

Opening reception with the artists: Saturday, October 20, 6-9 pm
Gallery: Saturdays & Sundays 1-6 pm and by appointment

The opening coincides with the Gowanus Open Studios.
Spine is featured in the Hyperallergic Fall Art 2018 Guide.

SPINE

October 20 - December 2, 2018 | Curated by Suzanne McClelland and Leeza Meksin

Ortega y Gasset Projects is pleased to present SPINE, a group exhibition curated by artist Suzanne McClelland and OyG Co-Director and artist Leeza Meksin, featuring works by Cati Bestard, Lisa Blas, Sonia Louise Davis, Shoshana Dentz, Anne Eastman, Jenny Monick and Anne Vieux.

Opening at OyG on Saturday, October 20, 2018, during the weekend of Gowanus Open Studios, SPINE explores the mental and physical structures of a book and questions what is legible, optical, physical, emotional or cerebral. Reading is viewing and occurs any time anyone engages with visual art but it also happens when we’re handling and engaging with books as objects. Printed media lives in the realm of the physical and the private with a spine functioning as an interruption, an intersection, a fulcrum and a central structure, often simultaneously. The work presented in the exhibition questions when does the private act of reading become public and what is shared.

SPINE brings together a wide range of media, including drawing, photography, sculpture, video, fiber, multiples and artist books. Please join us for the opening with the artists and curators on Saturday, October 20th, 6 - 9pm. The exhibition will be on view October 20 - December 2, 2018.

For press inquiries, please contact:  
Leeza Meksin, Co-founder and Co-director, Ortega y Gasset Projects
leeza.meksin@gmail.com

I have contributed a work to The Drawing Center for their 2018 Benefit Auction. Please join us Monday night, October 1, 2018, in support of one of New York’s most groundbreaking museums and their future programming! View the list of participating artists and works here: CATALOG

YOU ARE INVITED
The Drawing Center's
2018 BENEFIT AUCTION
Date: Monday, October 1, 2018
Time: 6:30-8:00PM
Location: The Drawing Center | 35 Wooster Street

The Drawing Center, a museum in Manhattan's SoHo district, explores the medium of drawing as primary, dynamic, and relevant to contemporary culture, the future of art, and creative thought. Its activities, which are both multidisciplinary and broadly historical, include exhibitions; Open Sessions, a curated artist program encouraging community and collaboration; the Drawing Papers publication series; and education and public programs. It was founded in 1977 by curator Martha Beck (1938–2014).

"While Instagram tends to emphasize the medium's social utility, carriage trade's Social Photography exhibitions have tracked an alternate course, inviting participants and viewers to encounter these images in a format free of peer-generated tallies, while offering the option of a sustained look afforded by a gallery setting."

All photographs can be viewed and purchased online:
https://socialphotography.carriagetrade.org/

carriage trade, 277 Grand St, 2nd Fl. , New York, NY 10002

Super excited to be a part of this Artist Print Sale benefiting Swing Left to effect change in the upcoming November 2018 midterm elections. Organized by the amazing Kim Schoen and Betsy Lin Seder, this is the definition of community in real time, grass roots organizing, artists participating outside of their studio.

View the incredible list of artists and available print editions: Make The Wave 2018

View, Share, Support, Vote!

June 15 - July 15, 2018

www.makethewave2018.com

Ejecta Projects
136 West High Street
Carlisle, PA 17013
443.904.3649

PRESS

I will give a public talk on Friday, November 10, 2017, at 10:00 am in the auditorium, Knut Knaus, Department of Fine Art. Please join us for a discussion on my work, "Monday's image" and the genesis of both.

KMD Møllendalsveien 61, 5009 Bergen, Norway. Department of Fine Art.
Tel: 47-55-58-73-00 | Email: post@kmd.uib.no

New York Public Library: Bryant Park
476 Fifth Avenue (42nd St. and Fifth Ave.), New York, NY, 10018

Related Press: NY Times

Drawing Practice/Bellingham National 2017
June 11 - September 10, 2017 / Whatcom Museum, Bellingham, WA

Juried by Catharina Manchanda (Jon and Mary Shirley Curator of Modern and Contemporary Art, Seattle Art Museum)

Juror tour of the exhibition: Sunday, June 11, 2017, 1:00 pm
Whatcom Museum, Lightcatcher Building, 250 Flora Street, Bellingham, WA: 360.778.8930

Please join us!

Lisa Blas
Monday's Image
March 23, 2017
1:00 - 9:00pm
Opening March 23 - 7:00pm

Monday's image is a weekly web-based project begun in 2015 by Lisa Blas in the News section of her website, presented as a video work for a special one night-event at the EHF.

PRESS: 16 Curators to Watch at SPRING/BREAK
Artsy Editorial: Casey Lesser

Natasha Becker presents three New York City artists, LISA BLAS, BRADLEY McCALLUM and DAAPO REO, at this year’s SPRING/BREAK Art Show.

The title of the exhibition is inspired by Chimamanda Ngozi Adichie’s 2013 novel about identity and belonging in a global landscape.

Contained within Adichie’s neologism, Americanah, is the word Americana which describes the many different kinds of artifacts that make up the history, geography, folklore and cultural heritage of the United States. The American flag is an iconic symbol within this collection of artefacts, representing a national identity that is based on the principles of liberty, justice, and humanity. It is an inspiring image but one that can also highlight moments where the nation falls short.

By adding an ‘h’ at the end of the existing word, Adichie extends its meaning to describe, defend, and criticize a complex process of becoming in which identity is not predicated on the seeds of nationality or the ground of place but rather on experience (relations of identity, nationality, race, difference, loneliness, aspiration, love) and trajectory (the path one follows through place and time).

The exhibition explores the delicate balance between expressions of American idealism and the freedom of artists to comment on times where nations falls short of their ideals.

Lisa Blas investigates how a single representation is mediated in its time of origin and redeployed in changing economies of signs and significations. Her poetic flag portraits representing Emily Perez (the highest decorated African-American and Hispanic woman to have died in the recent Iraq War) are potent symbols of vulnerability and in her newest series of vibrant collages, entitled “The Instability of Nature Morte (reconsidering monument[ality] under the throwaway evidence of work”, she explores personal and activist responses to contemporary political culture.

Bradley McCallum transforms news media images of burnings of the American flag into shimmering abstractions of flames, figures and fragments. Flag burning is a practice long associated with protest against the policies of a government or nation. His series of protest paintings (2015/2016) link the power and beauty of national icons with intense longing and demands for fairness and justice.

Daapo Reo reinvents the popular red, white and blue as a symbol of African aspirations, “ALCOHOLOTOPIA (A GEOPOLITICAL DREAM UNDER THE INFLUENCE,” and belonging, “AFRIKAN HISTORY X: GAY IS THE OLD BLACK, BITCHES!”. Reo’s flags are made from different African textiles representing layers of personal history, cultural memory, and conflicting experiences to comment on utopian aspirations and past and current realities, poking fun at privileged elites and anonymous masses along the way.

“Americanah” at SPRING/BREAK Art Show, 1 - 6 MARCH 2017, NEW YORK Times Square, NYC (entrance on 43rd Street)

For queries please CONTACT | NATASHA BECKER | curator | T: 917.601.6625 | E: n becker@icloud.com

January 12 – February 18, 2017
Tanja Grunert
524 West 19th Street
New York, NY 10011

Tanja Grunert is pleased to present the exhibition debut of Emergency Eyewash, a conceptual “label” conceived by Carol Szymanski and Barry Schwabsky as a vehicle for collaborations using texts, imagery, and objects. In particular, Emergency Eyewash aims to open up space for language arts outside the medium of the book and the computer screen.

Full press release and installation images here:
Artpress: "Emergency Eyewash"

Lisa Blas / Dear viewers, dear readers / Two Poems for you
Pablo Neruda / The Citizen _ Seamus Heaney / Exposure

My exhibition "After lost space(s)" is now on view! Please join us for the closing reception on Saturday, March 12, 2016 at Kai Matsumiya gallery.

The show is up for one week only, Tuesday, March 8 - Sunday, March 13, 2016, as part of special programming entitled "Don't Make A Scene". Further information on "Don't Make A Scene" via Interview Magazine.

I look forward to greeting you!

Trestle Gallery
168 7th Street, 3rd Fl.
Brooklyn, NY 11215
http://www.trestlegallery.org/art-talks/

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]]>Nov. 10th / Upcoming Lecture at Evergreen College, Olympia, WashingtonLisa BlasTue, 23 Jun 2015 16:42:00 +0000https://www.lisablas.com/openings/2015/6/23/adrift-in-america-cx5fe533ec176e4b056226a553a1a:59761e2be3df28d888a74ef0:59762273414fb5f8abae9b70New Post: Reflections upon current events, histories, images and the future.

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Lisa Blas / Adrift (after Charleston) / 2015

Greetings! I will be participating in the annual EFA Open Studios during Armory Week on Tuesday, March 3rd. Opening: 5:00 pm - 9:00 pm. It is a festive event with over 60 artists who will be participating, many of whom are friends and collaborators.

Join me for conversation and viewing of my recent projects at studio #608.

Hope to see you there!
Lisa

EFA Open Studios
323 W. 39th Street, #608
New York, NY 10018
(between 8th & 9th Avenues)

Happy New Year!

I'm pleased to announce the re-launch of my website, lisablas.com.

The new site features current projects, installations, exhibition documentation, earlier work and related audio, video and texts. As new projects are added in Current(s), the Resources and Researching(ing) pages will grow alongside them. These pages will include some of my research endeavors so as to provide a platform for sharing information between artists, writers, scholars, educators and historians. The News section will announce lectures, studio activities and exhibition projects, and act as a space of discussion linked to the above-mentioned platform.

With all that said, I hope you have a chance to peruse the site this winter. Thank you!

Until soon,
Lisa

Twitter: @lisablas