Allison Beondé

Installation Views

Allison Beondé — Mon, 21 Jan 2019 19:33:35 +0000

At the hands of persons unknown

Allison Beondé — Tue, 04 Dec 2018 03:54:59 +0000

At the hands of persons unknown is a contemplative meditation on our society, set within the American South. The images explore spaces and structures that have become normalized into the everyday, and the traces of history embedded within. Following the 2017 Charlottesville Riots, with the debate over the removal of Confederate monuments ablaze within the American South, I wanted to expand the idea of what a monument is—to envision all the other forms of monument surrounding us constantly. The more I looked, the more I began to see an invisible geography, an invisible scaffolding, tracing everything together. I set out to visualize this scaffolding, not purely as an index, or document, but more as a form of “historical meditation”—a way to contemplate the environment around us and to examine and scrutinize its origins more deeply. It feels important right now to document the seemingly ordinary, not as a turning away from the heaviness of our current moment, but as a way to turn towards it—to remain cognizant of the systems of power that are in place and our roles within.

Selected exhibitions of this work:
2019 Battlegrounds, Public AR installation, New Orleans, LA. Curation: Nancy Baker Cahill
2019   Facades, Carroll Gallery, Tulane University, New Orleans, LA. Curation: Amy E. Crum & Marjorie Rawle
2019   Down to Earth, Contemporary Arts Center, New Orleans, LA. Curation: Space-ship
2019   At the hands of persons unknown, Carroll Gallery, Tulane University (solo)
2018   All sorrows can be borne…, Antenna Gallery, New Orleans, LA

This project is currently in progress, and will be added to the site soon.

You can view installations of the project here.

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1947, Roswell

Allison Beondé — Mon, 22 Jun 2015 03:08:59 +0000

1947, Roswell, investigates the famous history of the Roswell UFO incident. Diverting from the overtly quirky, cosmic, outlandish portrayal that this event typically invokes, these images follow the intimate narrative that played out after two young lovers encountered the alleged UFO crash. The images loosely trace their story through the crash, the investigation, and the months following. In looking at this section of a story that is deeply engrained in our cultural consciousness, the images expose parts of this past that still feel so relevant today—the way that the government withholds information and the skepticism that was bred and continues to live between our government and the public. By subtlety distorting notions of mid-century Americana wholesomeness—such as the cops and donuts reference, which doubles as a reference to the aesthetics of flying saucers—the fabric of society begins to come unthreaded. Skepticism arises around our notions of what is true and the trust that we instill in images, by exposing the photograph as not just a documentation but also a falsification.

Selected exhibitions of this work:
2019   Eyes on Main Street Festival, Wilson, NC
2017   Clickbait, The Front, New Orleans, LA
2017   Thread Count, Der Grief, CO-OP, Unseen Amsterdam, Amsterdam
2015   1947, Roswell, Aviary Gallery (solo)
2015   Grants Exhibition, Light Work, Syracuse, NY

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Editorial

Allison Beondé — Sat, 20 Jun 2015 23:11:28 +0000

The post Editorial first appeared on Allison Beondé.