RESORT : ANDREW ELLIS JOHNSON AND SUSANNE SLAVICK

The McDonough Museum of Art at Youngstown State University

September 7 – October 26, 2018

Public Reception, Friday, September 7, 5-7pm

Gallery Talk, Friday, September 7, 5 pm

New Immigrant and Refugee Visions screening, 6-7pm

The John J. McDonough Museum of Art, on the campus of Youngstown State University opens the fall season with RESORT, a traveling exhibition of works by Andrew Ellis Johnson and Susanne Slavick. It accompanies Sanctuary, an exhibition of paintings by John Guy Petruzzi. Both shows will be on view in the galleries September 7 – October 26 with an opening reception on Friday, September 7 from 5-7pm. Susanne Slavick and Andrew Ellis Johnson will give a gallery talk on the evening of the reception beginning at 5pm.

In addressing RESORT Slavick and Johnson comment: “Driven or displaced, cut loose or set adrift, or simply seeking safety—all are precarious states of passage. The decision to leave home may be voluntary or involuntary, arising from desperation or anticipation. RESORT, as a title, reflects that duality. To flee is a last resort. The destination is often another shore, literally or figuratively. The shore can also be a place for a benign kind of escape—an actual vacation resort. Some European vacationers have actually watched refugees wash ashore, from vessels both intact and capsized. We have similar scenarios on land at our own borders, worsened by recent separations of children from their families. RESORT explores the intersection of these two worlds—of security and insecurity— and our responses to those caught between them.”

 

In conjunction with RESORT, there will be several screenings from New Immigrant and Refugee Visions, produced by Community Supported Film. A preview screening will take place on Friday, September 7, 6-7pm. Additional screenings will take place from 12:30 to 1:30pm on September 11,14, 25, 28 and October 9, 12, 23 and 26. New Immigrant and Refugee Visions is a collection of documentary films made by new immigrants that provide unique insider perspectives on both the challenges of integration and the contributions immigrants make to our culture, economy and social fabric.

http://csfilm.org

McDonough galleries are open Tuesday through Saturday from 11am until 4pm.

Office hours are Monday through Friday from 8am to 5pm.

The Museum is open to the public and admission is free.

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 Somewhere Over the Border, 2018, detail from middle panel, ink on paper

Somewhere Over the Border, 2018, detail from middle panel, ink on paper

ARTISTS WHO TEACH

Westmoreland Museum of Art, Greensburg PA

August 25 - November 25, 2018

Andrew Ellis Johnson will join other artists for gallery talks on Wednesday, September 12 > 5:30-7pm | RSVP

The Cantilever Gallery at The Westmoreland is brimming with contemporary artworks created in a broad range of mediums—painting, sculpture, photography, video, stained glass, installation and mixed media.

While the works themselves explore diverse themes using various techniques and materials, each of the artists in this exhibition share one thing in common—they all teach at one of the numerous colleges and universities in our region.

Artists Who Teach celebrates the incredible talent and broad range of art making in this region today. The 58 artists in this exhibition are all inspiring the next generation of artists by teaching at Carlow University, Carnegie Mellon University, Chatham University, Indiana University of Pennsylvania, Robert Morris University, Seton Hill University, Saint Vincent College, University of Pittsburgh/University of Pittsburgh-Greensburg and Westmoreland County Community College.

 One Tiki, Two Tiki, 2017, ink and charcoal, 75 x 42 inches

One Tiki, Two Tiki, 2017, ink and charcoal, 75 x 42 inches

 Tall Tails, 2017, ink, 74 x 42 inches

Tall Tails, 2017, ink, 74 x 42 inches

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FEMINIST BORDER ARTS FILM FESTIVAL

RESORT, a video co-created with Susanne Slavick, is included in:

BORDER ZONES LIMINAL BODIES

New Mexico State University  Art Gallery

March 12, 2018 from 10am-6pm

A second screening event occurs on April 16, 2018 from 6pm-8:30pm at the CMI Theater Milton Hall 171 on the campus of NMSU. Sponsored by the Gender & Sexuality Studies, Interdisciplinary Studies Department, and the Creative Media Institute. 

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THE PARTICULAR PAST

A group show curated by Paul M. Nicholson

Martin Gallery, Muhlenberg College, Allentown PA                                          

February 14 – April 30, 2018

Image: Andrew Ellis Johnson, Still from STREWN2015

Features work by Tom Bendtsen, Foeiqua, Sharka Hyland, Andrew Ellis Johnson, Bang Geul Han, Donald Porcaro, Jessica Posner, Jessica Walker. 

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UP IN ARMS

Andrew Ellis Johnson's video Massacre of the Innocents is included in UP IN ARMS at Zilkha Gallery South at Wesleyan University.

In Up in Arms, Artists Engage in Dialogue on Gun-Related Violence, by Mae Davies in The Wesleyan Argus.

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No Vacation: 'Resort' is a voyage of ‘empathic unsettlement’

RESORT, a two person show by Andrew Ellis Johnson and Susanne Slavick at The Fed Galleries at Kendall College of Art and Design in Grand Rapids, Michigan, previewed in this REVUE article by Marla Miller.

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UNLOADED at Harris Gallery, University of La Verne, CA

Massacre of the Innocents and Rehearsal are included in UNLOADED, a group show organized by Susanne Slavick that explores historical and social issues surrounding the availability, use, and impact of guns in our culture. 

Harris Gallery, University of La Verne, CA

September 5 - October 26, 2017

Curator's Lecture, Thursday, September 14, 6PM, Campus Center Ballroom A

Reception: Thursday, September 14, 7PM, Harris Gallery

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RESORT

Work by Andrew Ellis Johnson and Susanne Slavick

November 7, 2017  –January 31, 2018
The Fed Galleries @ KCAD, Grand Rapids, Michigan

Opening Reception: November 7, 5-7pm

Artists Talk: November 7, 6:30pm

https://www.kcad.edu/events/resort/

GATEWAY TO FREEDOM

Curated by Thalia Vrachopoulos, as part of Back to Athens 5, Athens, Greece, June 8 -30, 2017

http://cheapart.gr/gateway-to-freedom-back-to-athens-2017/

                          

  CHOKE: WITNESS FOR PEACE  2017  Wooden baseball bat, epoxy filler, glass eyes, 33 x 3.5 x 3.5 inches   The original version was made in 1998 but is now lost. Reconstructed in 2017.    Glass eyes courtesy of  Tohickon Glass Eyes   with special thanks to Antonio Alfaro.  On June 17, 1999, National Public Radio reported on British paratroopers who had found a baseball bat in a torture chamber in Pristina, Kosovo. The bat was inscribed with the label "mouth-shutter.”  The existence of torture and its tools persists, despite so many eyewitness accounts and exposes. It is practiced before, during and after wars, overtly and covertly. Those it would harm flee if they can, joining refugees who seek a fundamental safety that home and state no longer provide. Borders define who lives and dies as we watch, eyes wide open. Witnessing without action is the choke—vision squandered and humanity abandoned amongst the rhetorical handwringing.  “But witnesses incur responsibilities, as anyone who has ever seen a traffic accident and had to go to court to testify, knows. In the new world of globally televised war crimes, the defence of 'not knowing,' or neutrality, will dissolve for everyone. To be a witness or bystander is not a value-free choice but, inadvertently, a moral position; and in this sense the 'guilt' of people who live with the memory of crimes committed by members of their families, or communities, has been unwittingly extended to everyone who watches appalling pictures on the news.”  ―  Erna Paris ,  Long Shadows: Truth, Lies and History

CHOKE: WITNESS FOR PEACE 2017

Wooden baseball bat, epoxy filler, glass eyes, 33 x 3.5 x 3.5 inches

The original version was made in 1998 but is now lost. Reconstructed in 2017.

Glass eyes courtesy of Tohickon Glass Eyes with special thanks to Antonio Alfaro.

On June 17, 1999, National Public Radio reported on British paratroopers who had found a baseball bat in a torture chamber in Pristina, Kosovo. The bat was inscribed with the label "mouth-shutter.”

The existence of torture and its tools persists, despite so many eyewitness accounts and exposes. It is practiced before, during and after wars, overtly and covertly. Those it would harm flee if they can, joining refugees who seek a fundamental safety that home and state no longer provide. Borders define who lives and dies as we watch, eyes wide open. Witnessing without action is the choke—vision squandered and humanity abandoned amongst the rhetorical handwringing.

“But witnesses incur responsibilities, as anyone who has ever seen a traffic accident and had to go to court to testify, knows. In the new world of globally televised war crimes, the defence of 'not knowing,' or neutrality, will dissolve for everyone. To be a witness or bystander is not a value-free choice but, inadvertently, a moral position; and in this sense the 'guilt' of people who live with the memory of crimes committed by members of their families, or communities, has been unwittingly extended to everyone who watches appalling pictures on the news.” 
― Erna ParisLong Shadows: Truth, Lies and History