Tag Archives: Isabella Chilcoat

Saving Space: When Placeholders Are Not Enough

Placeholder from October 10 to December 9, 2023 at The Stamp Gallery | University of Maryland, College Park | Written by IsabellA Chilcoat

I spent ten days in Austria at the beginning of October. Worth it? Yes. Still facing the consequences for my coursework a month later? Also yes. But I’d do it again. In accordance with my art historian heart, I visited as many art museums in Vienna as I could squeeze into my packed travel itinerary. At every museum, I was the tourist b-lining to the gift shop for another over-priced, poorly constructed canvas tote bag (treasure) in the gift shop. Also worth it.

I returned to the U.S. (with a suitcase full of tote bags) just in time for the Stamp Gallery’s exhibition Placeholder – wishing I had a personal placeholder while I was away who could have done my make-up work for me. 

I define “placeholder” as a thing that stands in for something else, like a substitute or that blank line waiting for your signature on a piece of paper. 

This is similar to Danni O’Brien’s entanglement of wax gourds that represent a kind of humanoid organic matter within the technical and metallic hardware of their sculptures. Wax gourds act as a placeholder for human flesh or truly organic matter. We can also observe the idea of a placeholder at work in how James Williams II invokes the story of Frankenstein’s monster in God Don’t Like Ugly (2022) to draw parallels with aspects of the racialization and violence imposed on Black people throughout U.S. history without being so explicit in his imagery. Placeholders like these help us to explore familiar things in a new light, or they can remove certain barriers so that we might better understand or relate to a message. 

Rather than taking an artwork at surface value, recognize art as keeper of many truths, placeholder of its many beings.

While artworks may have placeholders within them to suggest issues or ideas, art can also be the placeholder for broader contextual moments in time or in the maker’s life. Artwork can be the placeholder for an artist’s own thoughts, feelings, and experiences. Or art can become a placeholder for the viewer’s own memory. As an object ages, it assumes a history of its own which renders the work a marker for associated moments and memories. When I look at the wrinkled museum bags in my closet, my memory awakens. When I strap one over my shoulder to leave the house, I imagine that the tote carries more than just my phone, wallet, keys, and chapstick.

Sometimes, however,  placeholders alone are insufficient. When an accepted narrative about people, politics, and the world around us is fabricated around partial truths pieced together to fit the most convenient conclusion for the time, a placeholder is not only insufficient, it is false. This begs the question, when does a placeholder become all we know about a particular topic? At what point in time does the completeness of an experience, event, or truth disappear? My tote bags are never going to capture the entirety of my Viennese experience, my encounter with Gustav Klimt’s sparkling Beethoven Frieze at Secession or the aroma of strudel from the cafe next to my hotel.

When we encounter placeholders, it is essential to examine and re-examine the material, to never neglect raising a critical consciousness. Accordingly, imagine what lies beyond the forms you might see represented on an artwork’s surface. Engage with the critical context that influenced the maker, and then yourself, the viewer. What did/does the artwork inspire? How many merging histories, thoughts, and emotions reside in one piece of visible history? Rather than taking an artwork at surface value, recognize art as keeper of many truths, placeholder of its many beings.

Danni O’Brien and James Williams II’s works are included in Placeholder at The Stamp Gallery of the University of Maryland, College Park, from October 10 to December 9, 2023.

For more information on Danni O’Brien, visit http://www.danielleobrienart.com/.

For more information on James Williams II, visit https://www.jameswilliamsii.com/.

For more information on Placeholder and related events, visit https://stamp.umd.edu/centers/stamp_gallery.

Mentorship Behind the Making of The Royal Blue Series (and more from the series)

What We Do After from August 28 to October 6, 2023 at The Stamp Gallery | University of Maryland, College Park | Written by Isabella Chilcoat

“Life is about give and give, not give and take.”

Beverly Price
(Beverly Price, conversation between the artist and the author on 9/12/2023).

There’s something about Beverly Price’s Royal Blue Series that takes the photographs beyond the wall. Judging from the insights Price shared this past February, during the CAPP cohort’s visit to the community focused artist residency program, the Nicholson Project, as well as recent discussions we’ve had, it is clear that the Royal Blue Series is significant for its impact on the subjects and the awareness it draws to DC neighborhoods. 

Born and raised in Washington, D.C., Beverly Price has centered her art practice  and her education so far within the D.M.V. area. The artist studied business, organizational leadership and liberal arts at Georgetown University, and later, she completed a Master of Fine Arts in photographic and electronic media at Maryland Institute College of Art. She has exhibited and featured works at the National Museum of Women in the Arts (museum shop), Anacostia Art Center, Maryland Institute College of Art, American University, Virginia Commonwealth University, and more (courtesy of the artist’s website). 

Price’s career as both an artist and an activist hold firm roots within youth and community advocacy and involvement. Over the last five years, she has served in a variety of agencies and institutions throughout Baltimore City and her home, Washington D.C., as an empathetic educator and resident artist. You could trace her footprints to the American University, the Latin American Youth Center, Forest Park High School (Baltimore), and Charles Hart Middle School (Washington, D.C.) to name a few. Furthermore, Price instructed a Teen Residency Workshop Series at The Nicholson Project, where she was also an artist in residence until March of 2023 (courtesy of the artist’s website).

Price’s fervent investment in D.C. communities, observable in her Royal Blue Series, stems from her own experiences with loss of innocence and its impact on her life. In 2002, Price was sentenced to five years in prison as a senior in high school. When she returned home from prison at age 23, she decided to dedicate her life and her art practice to her continued growth and to the benefit of her community (courtesy of the artist’s website). Describing her experience teaching and working with youth in D.C. neighborhoods, she said, “life is about give and give… not give and take.” She expressed how giving is a key takeaway she wants to leave with younger generations, especially in underserved communities.

The Royal Blue Series dives into the heart of a D.C. neighborhood to demonstrate not only how children are directly affected by cycles of violence, but also how art can channel those experiences into healing with the opportunity for restoration and compensation. Price set out to explore adolescence and Black boys’ experiences growing up in D.C. at the onset of the project, and found motivation in uncovering ways to protect the innocence of Black boys in America. To create this series, Price collaborated with a group of adolescent boys in 2019, facing the aftermath of a murder of their brother and friend, 11-year-old Karon Brown. In the wake of this trauma, Price photographed the boys playing and hanging out – gathering in shared spaces like the playground. While building a relationship with them and taking their photos, Price also compensated the boys for their participation.

In Long Live Baby K, 2019, the child on the left is seen wearing a shirt in remembrance of Karon Brown. 2022 Silver Gelatin Print (Pearl), 11x14in. (courtesy of the artist’s website)

Price emphasized that she wants to show the boys that they can and will be compensated for their work in the art world. She hopes to impart on them that creative work, especially photography, can be an alternative source of income in addition to being a creative outlet as they work through their emotions. 

Accordingly, on one of her 2022 visits with the (now) teenage boys, she spent a day teaching them how to take photos and letting them use her camera to photograph each other. Over the course of the Royal Blue Series’ movement through exhibitions, art collections, publications, Price has endeavored to share this journey with the boys however she can, and to be a resource to her young collaborators in their creative development. The series photograph, Ray, 2022, depicts one of the children handling Price’s camera and peering into the lens. 

In Ray, 2022, The adolescent boy (left) is seen handling Price’s camera and peering into the lens. 2022 Silver gelatin print (pearl), 11x14in. (courtesy of the artist’s website)

Price is finding ways to keep the next generation’s attention by sharing creative practices that can engage emotions while generating an income stream. Now, when I view Price’s photography, I am hearing her voice play in my head, “give and give…not give and take.”

Beverly Price’s work is included in What We Do After at The Stamp Gallery of the University of Maryland, College Park, from August 28  to October 6, 2022.

RESOURCE(S):

  1. Price, Beverly, “Meet Beverly,” 2023. Artist Website, 2023. https://www.beverlypricephoto.com/royal-blue-the-essence-of-innocence 
  2. Price Beverly, “The Royal Blue Series (The Essence of Innocence), 2022. Artist Website, 2023. https://www.beverlypricephoto.com/royal-blue-the-essence-of-innocence 
  3. Price/Chilcoat Discussion, September 12, 2023.
  4. Artist Talk with Beverly Price for CAPP, at the Nicholson Project, February 2023.

OPEN CALL: Redefining Beauty After Human Asexual Reproduction

LIMBSHIFT from April 20th to May, 19th 2023 at The Stamp Gallery | University of Maryland, College Park | Written by Isabella Chilcoat

Beauty exists in every age of human history. Classically, “beauty consists of an arrangement of integral parts into a coherent whole, according to proportion, harmony, symmetry, and similar notions” (Sartwell, 2022). By this metric, where there is harmony, a divine order, or a mathematical formula for aesthetic proportion, there is beauty. In every monumental human transition, humanity follows or creates beauty. Philosophy fails to provide a concrete answer that encapsulates the entirety of what beauty is, though. Therefore, beauty is a fluid thing, neither wholly subjective nor wholly objective. But when a new order appears, what is beauty, what becomes beautiful? 

The Stamp Gallery’s exhibition, LIMBSHIFT, is not only contemplative on beauty, it is challenging.

LIMBSHIFT features two second-year University of Maryland MFA candidates’ mixed media, multi-dimensional artworks that highlight the capacities of the human body and its limitations. One of the artists, Dan Ortiz Leizman, grafts emerging AI technology to tactile mixed media. Through their art, they hypothesize the possibilities of human asexual reproduction in the aftermath of nuclear destruction. Ortiz Leizman’s projections obliterate the present framework for gender, sex, and social identities, leaving open the space for considering beauty in an alternative landscape. In this hypothetical, asexual reproduction carries specific Darwinian hopes for eliminating some genetic diseases, altering public health, and mitigating gender discrimination (Jose de Carli, 2017). But while asexual reproduction eliminates a significant physical divide between people, it erodes individuality by limiting the gene pool in future generations. 

Imagine that there is no longer male or female, only human. There is no more variation in appearance as there is no more variation in ability. There is a new sense of sameness in reproductive ability which extinguishes distinctions in physical appearance. 

There is a new order to physiology, a new formula for evolution. Traditional sexual reproduction becoming obsolete means stripping “being sexualized” from the standard of beauty because there is no need for it. This dawn of asexual reproduction calls for a reconsideration of beauty from how it looks to how it feels, how it sounds, how it operates. How is it recognized? Moving away from the physical body and from reproduction, beauty can exist on an abstracted plane unencumbered by corrupt standards or social doctrine. Beauty detached from sexualization, objectification, and gender is open and free to shift into a new meaning. 

Beauty detached from sexualization, objectification, and gender is open and free to shift into a new meaning. 

Dan Ortiz Leizman’s work is included in LIMBSHIFT at The Stamp Gallery of the University of Maryland, College Park, from April 20th to May 19th, 2023. For more information on Dan Ortiz Leizman, visit https://www.danortizleizman.com/. For more information on LIMBSHIFT and related events, visit https://stamp.umd.edu/articles/stamp_gallery_presents_limbshift.

Resources: 

  • Gabriel Jose de Carli, Tiago Campos Pereira, On human Parthenogenesis, Medical Hypotheses, Volume 106, 2017, Pages 57-60, ISSN 0306-9877, https://doi.org/10.1016/j.mehy.2017.07.008.
  • Sartwell, Crispin, “Beauty”, The Stanford Encyclopedia of Philosophy (Summer 2022 Edition), Edward N. Zalta (ed.), https://plato.stanford.edu/archives/sum2022/entries/beauty/.

Binary Socks

UNFOLD from January 30 to April 1, 2023 at The Stamp Gallery | University of Maryland, College Park | Written by Isabella Chilcoat

I first encountered artist Elliot Doughtie’s work last November of 2022 during my Contemporary Art Purchasing Program cohort’s visit to his studio in Baltimore City. We arrived early in the morning (in a university van) for a full day of gallery and studio visits, and Doughtie was first on the docket. He greeted us outside of Area 405, the historic Baltimore warehouse that houses a number of working artists’ studios and emits the familiar musk that so many historic properties possess after sheltering decades of dust from the bustle of busy humans. Surrounded by the energies of creatives past and present, my team members and I were eager to explore the brick-walled universe of expression and curiosity.

Enter Doughtie’s studio. The floors are gray wooden boards met by drywall panels in between exposed brick. The drywall patches are covered in graph paper sketches of concepts, ideas, and the two sock drawings that now hang in the Stamp Gallery as part of the group exhibition UNFOLD. There are two rooms, one main studio space testing the display of sculpture and installations followed by a narrow hallway to a smaller workspace. Throughout the studio are socks. Not real socks, but heavy, brittle sculptures and mock-ups capturing the exact texture of fabric created through an all but easy process of pouring plaster into molds cast from bulk-buys of generic gym socks. Inside the smaller workspace room resides a circular saw, molds, and other scattered tools. Imagine a public education shop class room, then make it half the size, then fill it with various sizes of plaster fragments, pipe, and little empty replica bottles of Testosterone.

Just as the plaster fragments spread across the floor of the studio, Doughtie’s finished sock sculptures rest on the wooden floors in the Gallery. What most visitors do not know is that they weigh around eighty pounds, can shatter, and are not, in fact, real socks. The closest element they bear to the fabric socks used to create their molds is the red striped detail above the ankle. The red dye in the original sock transferred to the absorbent plaster during casting.  An expert dupe, these conceptual socks would likely crush under the weight of a foot, which is what makes them so fantastic as works of art! They subvert any ordinary conception people hold about socks; Doughtie’s are not the resilient little things we banish to hampers, closet floors, or washing machines every evening. Instead the art socks on the floor are metaphors for the crushing weight of our society’s masculine stereotypes. 

Further exemplified in the diptych drawings of socks on the gallery’s first wall, the illustrations oppose each other by contrasting a picture of many socks crowded together with a picture of just one sock in isolation. Despite what initially feels like a playful subject, the illustration with only one sock is chillingly lonely. The single sock floats at the bottom of its page as if staring at the crowd of intertwining socks separated by two frames. Socks come in pairs, like binaries, and can only fulfill their prescribed purpose if  they are together. The idea of losing one sock from a pair likely raises neck hairs for anyone who has scoured a house in search of that elusive piece of polyester-blend hosiery. It also highlights the devastating pressures to conform to a stereotype or standardized identity for belonging. Focusing on a single, separated sock from the cluster really spotlights the metaphor for stereotypical masculinity and exposes its weaknesses beyond the safety of sameness. These all-but-essential unspoken codes dictating binary gender expression inflict droves of problems, and Doughtie’s single sock captures some of the feelings associated with rejecting the standard. 

The lonely sock suggests dual ideas that the pressure of assimilation  is crushing, and, ironically, so is the isolation. I am grateful for the physical space in between the picture frames, however, because I needed it to remind me about the gray area. Our world is frequently so suffocatingly black and white, but life is much more complex and colorful beyond the binary. 

Elliot Doughtie’s work is included in UNFOLD at The Stamp Gallery of the University of Maryland, College Park, from January 30 – April 1, 2023. 

For more information on Elliot Doughtie, visit https://elliotdoughtie.com/

For more information on Unfold and related events, visit https://stamp.umd.edu/centers/stamp_gallery