Friday, October 4, 2024

"Suleika Jaouad and Anne Francey: The Alchemy of Blood" at ArtYard, Frenchtown, NJ, through October 6


Suleika Jaouad, Just Married, 2024. Watercolor on cradled plywood. Courtesy of the artists. Photo: Courtesy of ArtYard/John Carlano


Suleika Jaouad and Anne Francey: The Alchemy of Blood brings together artworks created separately and at different moments in the lives of a mother and daughter. Carefully curated, this beautiful exhibition effectively reveals how these various media creations inform one another. The theme, alchemy (the medieval belief in turning lead into gold), refers to the transformative powers of art. Here we see negative energies (fear, isolation, anxiety, helplessness, and pain) channeled into reaching for the opposite - for vitality, strength, and survival, even if it means surrendering into a vast unknown. The "blood" in the title references the mother-daughter relationship and their shared experience fighting Suleika's leukemia, a cancer of the blood and lymphatic system.


Suleika Jaouad, Just Married, 2024. Watercolor on cradled plywood. Anne Francey, Red and Grey, 1988. Acrylic on canvas. Courtesy of the artists. Photo: Courtesy of ArtYard/John Carlano


Within the ArtYard's generous spaces, we witness an emotional conversation conducted in radiant and hushed tones, revealing gut-wrenching truths that words may not adequately express. The images are surreal from a place where time and certainty do not exist. They float in their own magical environments liberated from literary constraints. The whole project testifies to the courage of these powerful women, blessed with abundant talents that nurture each other. As a whole, these paintings, shields, and video installation, achieve monumentality because of  ArtYard's huge walls in its capacious galleries. 

The ghost of Mexican artist Frida Kahlo (1907-1954) also resides within these walls. Anne Francey gave Suleika a book about Frida Kahlo awhile ago. Knowing this information in advance of my trip to ArtYard, I noticed the influence of the preeminent autobiographical artist on Suleika Jaouad's fanciful style (also similar in spirit to Florine Stettheimer, 1871-1944) and considered the spiritual presence of Frida Kahlo as another blood-tie between this life-long mentor and her favorite disciple. 

Suleika Jaouad and Anne Francey: The Alchemy of Blood opened on June 22nd and closes on October 6th. To learn more about the artists' decisions and motivations, please watch the recorded conversation with Suleika Jaouad and Anne Francey, which took place on June 23rd.



Anne Francey and Suleika Jaouad in front of Anne Francey's Battle of the Angels, 1988. Acrylic on canvas. Courtesy of the artist. Photo: Courtesy of ArtYard/Miana Jun


From the ArtYard press release:

"The Alchemy of Blood is born of bodily transitions and transformations, limitations, and liminalities. Featuring works by Suleika Jaouad and those of her mother Anne Francey, the show pulls from periods of pregnancy, illness, and recovery — meditating on bodily agency, protective talismans, and emblems of the otherworldly that guided Jaouad and Francey through states of intense anticipation and corporeal metamorphosis.

The Alchemy of Blood is the first-ever art exhibition for Jaouad, author of the New York Times bestselling memoir, Between Two Kingdoms, which chronicles her experience of cancer in young adulthood.

During a spring residency at ArtYard, Joauad enlarged a series of delirious watercolor dreamscapes she had produced from her hospital bed during treatment for a 2022 relapse which had temporarily compromised her vision and ability to write.

Jaouad’s scenes and symbolisms share a foundational logic with the paintings Francey made three decades earlier while pregnant with Jaouad. Human-sized flowers seem to dance in vibrant washes of color — conjuring the womb and its growing life, on the brink between elsewhere and aliveness. Francey’s practice also shifted in response to her daughter’s diagnosis — she began making totemic ceramic “shields” to protect Jaouad through illness. These manifestations made concrete through clay and later woven hospital ephemera echo a medieval alchemist’s attempt to twist precious metals into a universal elixir for healing.

ArtYard is located at 13 Front St., Frenchtown, NJ, 08825. Free public hours are Wednesday through Sunday from 11 AM to 5 PM and Thursdays until 7 PM.

ArtYard is an incubator for creative expression and a catalyst for collaborations that reveal the transformational power of art. Its campus includes an arts center featuring exhibition space and a state-of-the-art theater as well as two buildings housing its residency program. To learn more, visit artyard.org."


About the Artists

Courtesy of the artist. Photo: Courtesy of ArtYard/Miana Jun

Anne Francey with her Light Shield, 2016. Ceramic, string and bamboo. Courtesy of the artist. Photo: Courtesy of ArtYard/Miana Jun

Swiss-American artist Anne Francey is a highly accomplished visual artist whose accolades include a  2021 Fulbright Fellowship in Tunisia, her husband's homeland. She is known for her group art projects that spark collaborative artistic expression from everyone, especially children. Most recently, she completed 1001 Bricks: The City in All its States, which included 550 participants, and was installed as a mural in Tunis. Her 1997-2014 NYSCA grant supported ceramic murals projects in schools and communities in New York State.  

Anne earned a degree in painting and video from the École de Beaux-Arts de Lausanne, Switzerland in 1981. Shortly afterward she settled in Manhattan for a two year stint at the School of Visual Arts. There she studied painting, video, and film. In 1983, she began her MFA at Hunter College, which she finished in 1987. Suleika was born in 1988.  

Anne Francey, Suleika's Shield, 2012.  Ceramic, string, and bamboo.  Photo: Beth S. Gersh-Nesic


The concept of the "shields" grew out of the period of caring for Suleika during her first bone-marrow transplant. Reminiscent of the enveloping Japanese kimono and the protective Christian crucifix, they also reminded me of Byzantine mosaics that shimmer in dark apses of medieval churches, intentionally expressing the otherworldliness of the divine. In this exhibition's context, wherein we consider the alchemy of art, we can appreciate this mother's fashioning and weaving ceramic armor as a way to enlist magical forces when the odds of her daughter's cancer treatment were 35% survival occasioned by horribly debilitating side-effects for a very long time. (For those of us who might have worn a disposable paper gown over our clothes as well as a disposable mask during visits to a bone-marrow transplant recipient, we might associate Anne Francey's shields with the gown's shape and the fact that we wore these shields to protect the patient from our germs.)



Anne Francey, Icarus Shield, 2023; Mother's Shield, 2023; Mother's Shield, 2023. Ceramic, string and bamboo. Courtesy of the artist. Photo: Courtesy of ArtYard/John Carlano


Photo: Courtesy of ArtYard/John Carlano



Anne Francey, The Astronomer's Shield, 2023; The Wonderer's Shield, 2023.  Ceramic, string and bamboo. Courtesy of the artist. Photo: Courtesy of ArtYard/John Carlano


Anne has exhibited in numerous galleries all over the world, most notably in Switzerland, Tunisia, Nebraska, Kentucky, and Hudson, New York. This year, in addition to exhibiting her work at the ArtYard, she exhibited at the Schacht Gallery in Schuylerville, near Saratoga Springs, where her husband Hédi Jaouad, Sukeika's father, teaches French language and literature at Skidmore College.


Jon Batiste and Suleika Jaouad in front of her The Kingdoms, 2024. Watercolor on cradled plywood. Courtesy of the artist. Photo: Courtesy of ArtYard/Miana Jun

Suleika Jaouad, a graduate of Princeton University and Bennington College, became a best-selling author with her 2022 memoir Between Two Kingdoms. The book describes in detail her battle with leukemia at 22 through 26 years old, and her ambitious 100-day journey across the US to meet people who wrote to her during her first bone-marrow transplant. While going through her first bone-marrow transplant, she started a blog that was picked up by The New York Times as a column called "Life, Interrupted." This frequent feature brought her fame, especially within the community of cancer survivors or their survivors, families and family who lost a loved one to cancer. Since then her relationship with world-renowned composer and musician Jon Batiste has caste a wider spotlight on her life, creative work, and marriage which has navigated the highs of exhilarating joys and the lows of excruciating sorrows. Suleika's (with or with Jon Batiste) interviews are available online at 60 Minutes,  InterviewThe Today ShowThe Atlantic, among so many others, and in the documentary American SymphonyShe also gave a TED talk.


Suleika Jaouad. Photo: Courtesy of ArtYard/Miana Jun

During the 2020 Covid Lockdown, Suleika (pronounced "Su-lake-a," one who is peaceful and beautiful) Jaouad ("Jay-wad," one who is generous and gifted) founded an online arts collaborative called The Isolated Journal, which sent daily writing prompts to readers for most of 2020 and 2021. Now Suleika sends weekly personal essays and prompts culled from her daily life and the lives of her friends, acquaintances, and/or literary stars. (I joined TIJ in April 2020.)


 

     Photo: Courtesy of ArtYard/John Carlano


    Photo: Courtesy of ArtYard/John Carlano


While celebrating the publication of her first book in 2021 Suleika relapsed late in the year. The watercolors on wood panels come from the period of her second bone-marrow transplant. Since the opening of The Alchemy of Blood, cancer was detected and she is undergoing treatment once again. "Survival is its own act of creation," Suleika often says.  

Here, in this exhibition, her paintings seem to describe her drug-induced dreamscapes (what her husband Jon Batiste calls her "fever dreams"), the residue of visitations in a mind blurred by medicinal therapies. The work features familiar and phantasmagorical creatures supporting or surrounding her nude body connected to tubes hanging from bags of blood, her lifeline, and a metaphorical umbilical cord. Floating, drowning, swimming, and/or sleeping, she seems to surrender to these imaginary forces. Juxtaposed with her mother's gigantic growing, dancing flowers bursting with fresh blooms (new life), we notice an unintended relationship between their respective iconographies, for example in Suleika's Just Married, 2024, and Anne's Red and Grey, 1988 in the first gallery.

In Just Married a pelican-like bird holds a scale shaped like a kiddy pool in which a fragile nude female body lies supine with her blood supply close by. In the medieval Christian Bestiary, the pelican symbolizes selflessness and sacrifice. It kills and revives its young by plucking its breast to pour its blood on its chicks to ensure their survival. So too we know that Suleika's mother Anne gave life to her child multiple times, from pregnancy to caregiver - selflessly and tirelessly. She has been the guardian, the shield maker, and the unsung hero in this endlessly challenging role.  

More specifically,  Just Married tells us that this giant bird lifting up a fragile damsel references a bride and groom, Suleika and Jon (?), who were secretly married in February 2022 right before Suleika entered the hospital for her second bone-marrow transplant. Her husband too selflessly and diligently supported her, along with her parents and brother Adam, who was her bone-marrow donor. 

On the wall text, Suleika wrote: "Sometimes the best creativity comes from a savage place, a place of urgency--because you are doing it to keep yourself alive. Anything becomes possible on the canvas or the page." The proof is in front of our eyes.


Photographs of the Exhibition

Above and below are photographs sent to me from the ArtYard's Meghan van Dyk.  Thank you so much Meghan and Saxon for your generosity and assistance for this blog review.

Suleika Jaouad and Anne Francey, The Secret Braid, (Exterior) Suleika's hair, tissue paper and leather box. Courtesy of the artists. Photo: Courtesy of ArtYard/John Carlano



Suleika Jaouad and Anne Francey, The Secret Braid, (Seen through the exterior glass), Suleika's hair, tissue paper and leather box. Courtesy of the artists. Photo: Courtesy of ArtYard/John Carlano


Photo: Courtesy of ArtYard/John Carlano


Photo: Courtesy of ArtYard/John Carlano


Suleika Jaouad and Anne Francey, The Cost of Living, 2024.  Mixed media and video. Courtesy of the artists. Photo: Courtesy of ArtYard/John Carlano


Suleika Jaouad and Anne Francey, The Cost of Living, 2024.  Mixed media and video. Courtesy of the artists. Photo: Courtesy of ArtYard/John Carlano


Suleika Jaouad and Anne Francey, The Cost of Living, 2024.  Mixed media and video. Courtesy of the artists. Photo: Courtesy of ArtYard/John Carlano



Photo: Beth Gersh-Nesic


 

All installation photographs: Courtesy of ArtYard/John Carlano





Courtesy of ArtYard/John Carlano

Courtesy of ArtYard/John Carlano

Courtesy of ArtYard/John Carlano


Suleika Jaouad, Take Me to the River East, 2024 .Watercolor on cradle plywood. Anne Francey's Suleika's Shield, 2012. Ceramic, string and bamboo. Courtesy of the artists. Photo: Courtesy of ArtYard/John Carlano



Suleika Jaouad, The Kingdoms, 2024; Anne Francey, Light Shield, 2016. Courtesy of the artists. Photo: Courtesy of ArtYard/John Carlano




Suleika Jaouad, Ruminating, 2024. Watercolor on cradle plywood. Courtesy of the artist. Photo: Courtesy of ArtYard/John Carlano


Suleika Jaouad, Shape of Waters, 2024. Watercolor on cradle plywood. Courtesy of the artist. Photo: Courtesy of ArtYard/John Carlano


Suleika Jaouad, Fertile Crescent, 2024. Watercolor on cradle plywood. Courtesy of the artist. Photo: Courtesy of ArtYard/John Carlano


Suleika Jaouad, The Immortals, 2024. Watercolor on cradle plywood. Courtesy of the artist. Photo: Courtesy of ArtYard/John Carlano



Suleika Jaouad, Drowning Practice, 2024. Watercolor on cradle plywood. Courtesy of the artist. Photo: Courtesy of ArtYard/John Carlano





Suleika Jaouad, The Kingdoms, 2024. Watercolor on cradle plywood. Courtesy of the artist. Photo: Courtesy of ArtYard/John Carlano



Suleika Jaouad, Blood Ballet, 2024. Watercolor on cradle plywood. Courtesy of the artist. Photo: Courtesy of ArtYard/John Carlano


Suleika Jaouad, The Sacrifice, 2024. Watercolor on cradle plywood. Courtesy of the artist. Photo: Courtesy of ArtYard/John Carlano


Suleika Jaouad, Take Me to the River East, 2024. Watercolor on cradle plywood. Courtesy of the artist. Photo: Courtesy of ArtYard/John Carlano


Post Script added October 17, 2024:

Suleika Jaouad announced her forthcoming book, available in April 2025.
To pre-order, contact your favorite independent bookstore or various booksellers online.




Sunday, September 22, 2024

Fall into the Fall Art Season 2024 - Highlights and Last Call for Isaac Julien, MoMA; Jenny Holzer, Guggenheim

 

Sonia Delaunay, Electric Prisms, 1914 (Orphism)
Musée Moderne de la Ville de Paris


Dear Friends,

Three cheers for Fall - the most glorious time of the year!  Rich red, orange and golden leaves shelter us and then fall as our most cherished festive gathering Thanksgiving draws near. Plump pumpkins proudly sit on our porches and in our shop windows almost everywhere to welcome Halloween activities throughout October.  Classes to nourish our minds and spiritual growth begin.  And best of all, the Fall Art Season gets into full swing.

However, before we welcome in this bountiful Fall harvest, let's bid farewell to two great summer exhibitions:
Isaac Julien, Lessons of the Hours (on Frederick Douglass), Museum of Modern Art, through September 28 for the public; September 29 for members only.  Another stellar video installation by Sir Isaac that is a powerful indictment of America's idealization of itself and its dehumanizing reality.

Jenny Holzer: High Line at the Guggenheim Museum through September 29, 2024. A "reimagining" of her 1989 exhibition - which was AMAZING!  Don't miss out on this opportunity to consider the past and present relevance of this hard-hitting installation artwork.

Elizabeth Catlett, Mother and Child, 1939
New Orleans Museum of Art



Hyperallergic Art Magazine offers one of the best guides to a jam-packed autumn in New York City (all five boroughs).  Here is the link to use as a reference to mark your calendars: Fall Art Season.

I am especially excited about three Modernist shows in New York: 

Elizabeth Catlett at the Brooklyn Museum, September 13, 2024 - January 19, 2025.

Berthe Weill at the Grey Art Gallery, NYU, October 1, 2024 - March 1, 2025.

Orphism at the Guggenheim, November 8, 2024 -  March 9, 2025.


And I recommend these extremely important exhibitions outside of New York:

Impressionism at the National Gallery of Art in Washington, DC, September 8, 2024-January 19, 2025.

Surrealism at the Philadelphia Museum of Art, November 3, 2024 - March 2, 2025.


Wishing you a healthy and happy Fall 2024!

Beth

Beth S. Gersh-Nesic, PhD

Director/Owner

New York Arts Exchange, LLC

Saturday, August 31, 2024

Last Call: "Sleeping Beauties," the 2024 Costume Institute Exhibition, through Labor Day, September 2nd

 


Simon Costin, The Nightingale and the Rose necklace, 1989

Dear New York Arts Exchange Friends,

Labor Day Weekend is here!   It's the official end of summer and the Met Costume Institute's super deluxe annual exhibition for 2024: "Sleeping Beauties: Reawakening Fashion" - still on view through Monday, September 2nd.  I visited the exhibition twice: in May and yesterday.  Quelle difference!  In May the crowd was bearable.  Yesterday, August 30th, the crowd felt like a can of sardines - suffocating and confining.  It's a challenge to get through the first half, but a bit easier in the last few rooms.  That said (for forewarned is forearmed), you must arrive at the Met early in the morning to secure a ticket.  The exhibition limit fills up within the first few hours of the day.  Even on Friday, when the museum closes at 8:45 pm.  Today, I imagine all the slots are taken.  Sunday and Monday - there's still hope.

Is it worth it?  Yes!  This exhibition includes creations that stagger the imagination.  The entire installation requires an in-person experience.  However,  if you must skip this year's show, here is the Met's "Sleeping Beauties" page with a video tour that is also satisfying.  Whichever way you choose to view this extraordinary curatorial feat, at least make a date with yourself to indulge.  It's well worth the time and effort. 

Best wishes for the Labor Day Weekend,
Beth

Beth S. Gersh-Nesic, PhD
Director/Owner



Ronald van der Kemp, Evening Dress, 2022

Jun Takahashi, Undercover dress, 2024


MMA  Sleeping Beauties 2024 Alexander McQueen Clamshell Dress 2001

MMA Sleeping Beauties 2024 Bea Szenfeld Ammonite dress 2014



MMA  Sleeping Beauties 2024 Charles James Butterfly Ball gown, c 1955

House of Dior, Mini Miss Dior, 2014

Thursday, August 1, 2024

Tonight: A Conversation with Steven Lane at Zarolot Gallery, DUMBO, at 6 pm

 


Re-making the Existing 
a exhibition of recent works by Steven Lane
July 12 - August 4, 2024
at Zarolat in DUMBO

Dear friends,

I hope you will join us for this rare opportunity to sit down with the wonderfully talented artist Steven Lane to ask him questions about his work.  I will moderate - and ask questions too :)

What is Zarolat? (click on the link)

"ZAROLAT is an architecture studio and a design collective representing a community of artists and makers. 

It is a creative initiative that celebrates skillful design and artisanship. 

Zarolat Studio has been working as an independent architecture studio creating buildings, interiors and furniture since 2018."

I hope to see you later today - and I believe this conversation will be recorded 🤞
Beth - 

Beth S. Gersh-Nesic, PhD
Director/Owner
New York Arts Exchange, LLC

What is Zarolat?

ZAROLAT is an architecture studio and a design collective representing a community of artists and makers. 

It is a creative initiative that celebrates skillful design and artisanship. 

Zarolat Studio has been working as an independent architecture studio creating buildings, interiors and furniture since 2018.




Wednesday, July 24, 2024

Last Call: "The Harlem Renaissance and Transatlantic Modernism" at the Met, through July 28th

 

Augusta Savage, Gamin, 1929


The Metropolitan Museum's glorious survey of art and literature dedicated to the modern Black experience in America will close on Sunday, July 28th.  This is a landmark exhibition for art history and museum history.  Organized by the Met's Curator-at-Large for 19th and 20th Century Art Denise Morrell, best known for her outstanding exhibition Posing Modernity: The Black Model from Manet and Matisse to Today, at the Wallach Gallery on Columbia's Manhattanville Campus from October 24, 2018 to February 10, 2019, this opportunity to learn about and savor the artwork of the leading Black intellectuals in the US and Europe from c. 1910 -1940 stands out as a once-in-a-lifetime experience. Moreover, the range of works brought together within these galleries is breathtaking. 



Aaron Douglas, The Creation, 1934

Being able to see  numerous spiritual paintings by the celebrated muralist Aaron Douglas in one room felt extraordinary. This occasion may be the only time these works of art appear together, having been generously loaned by their respective owners.  Please note that the exhibition is huge, so you may want to schedule two different visits before the exhibition closes.



Archibald  John Motley, Jr., Blues, 1929

The New York Times published an excellent article by Veronica Chambers and Michelle May-Curry that claims the founding concept for this arts movement took place at a dinner party on March 21, 1924.  Therefore, Harlem Renaissance and Transatlantic Modernism (c. 1918-1930), brilliantly celebrates the 100th Anniversary of this occasion. 

For more information about the exhibition, visiting hours, etc., please visit the Metropolitan Museum's website.

For more information about the Harlem Renaissance, please click on the links provided in the blog post here and on Wikipedia: Harlem Renaissance..

Best wishes for the weekend,
Beth

Beth S. Gersh-Nesic, PhD
Director/Owner