GETTING THERE

Andrew Ellis Johnson and Susanne Slavick

Schmucker Art Gallery at Gettysburg College

September 4 - December 6, 2019

Catalogue available with poems by  David Hernandez, Maria Melendez Kelson, Blas Manuel de Luna, Dunya Mikhail, Prageeta Sharma, Warsan Shire, and Wisława Szymborska; an essay by Suketu Mehta; and texts by Vu Tran.

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Getting There is aspirational; it implies a destination, marking progress toward some kind of goal. Getting There is a burden, but also a dream of many migrants and refugees. We cannot speak for those in flight, in hiding, and in desperate hope.  But we can speak to the contradictory fears and hypocrisies, ignored histories and punitive policies that we as a nation hold and enact here.

 We are all from somewhere else. At some point in our family lineage, someone has crossed a border. Escape, expulsion, exile, exodus and emigration are integral to human history.  Today, there are over 65 million refugees, asylum-seekers and internally displaced people around the world, according to the United Nations High Commissioner for Refugees. They are driven from their home by persecution, conflict and violence, or human rights violations.

 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. Those of us not needing to flee live in comparative luxury. Yet many Americans choose to feel invaded, believing our jobs are threatened or our culture diluted or even contaminated.

There is real fear and fabricated fear. Both are fierce and ubiquitous. There is the natural fear of the unknown, shared by the vulnerable and those made to feel vulnerable. How are the vanquished so easily demonized into a formidable foe by the rhetoric of demagogues and the media that serves them? Why do alarmist claims of invasion and infestation persist despite the evidence, and despite the abusive history of such language? The “other” is imagined as larger than life—and worse, fueling the dangerous perception that “the thing that is lower than I, makes me bigger.”

Such assumptions and attitudes insist that is not enough to be strong; those perceived as weak and powerless must be punished with deportation, incarceration, and separation from those they love. They must be dehumanized and denied rights to asylum and autonomy. They must remain invisible.  The works in Getting There question these manufactured imperatives and expose the consequences of our resentment or fear of “the stranger.”

The USA is a nation of immigrants and used to lead in resettling refugees. Today, with far fewer resources, Turkey and Pakistan now host the most refugees. Our current administration is slashing admissions to its lowest point in 40 years. Immigration policies have hardened, vilifying and incarcerating people who legally seek asylum. Outrage and soul-searching followed the separation of children from parents at the border, but the fury has failed to stop their indefinite detention in unprecedented numbers, against international law.  

 Being a refugee is not a choice. Those of us who are settled may never know the anxiety, risk or terror of those uprooted, the profound loss of what is left behind, and the daunting uncertainties ahead. Through these works, we explore encounters, intersections and perceptions between radically different worlds—between security and insecurity. 

We are moved by images. We are moved by words. We are grateful to novelists, poets, anthropologists and journalists who have informed our projects and whose words we have included or cited. Among them are Jenny Erpenbeck, Lev Golinkin, Eliza Griswold, Mohsin Hamid, Ali Johar, Maria Melendez Kelson, Jason De León, Blas Manuel de Luna, Suketu Mehta, Yasser Niksada, Prageeta Sharma, Warsan Shire, Wisława Szymborska, and Vu Tran. 

Getting There suggests movement—but more than the literal movement of migrants and refugees. We hope that Getting There advances an evolving ethos, a humane reception, an empathic embrace—and  movement of our own consciences.

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SCREEN | ANDREW ELLIS JOHNSON + SUSANNE SLAVICK | RESORT + QUENCH

Center for Maine Contemporary Art

March 16 - June 16, 2019

RESORT and QUENCH are two recent collaborative video works by artists Andrew Ellis Johnson and Susanne Slavick that frame the global refugee and migration crisis through the lens of the sea.

https://cmcanow.org/event/screen-resort-quench/

Still from RESORT

Still from RESORT

Still from QUENCH

Still from QUENCH

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

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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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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