On Sunday, September 24th, I will be conducting a handwriting session from 12 - 4 pm in the Rose Room of the New York Public Library. Please join friends, neighbors and colleagues in this collective activity of reading and handwriting the Constitution of the United States. To learn more about this initiative begun by artist Morgan O'Hara, please visit the website.
New York Public Library: Bryant Park
476 Fifth Avenue (42nd St. and Fifth Ave.), New York, NY, 10018
Related Press: NY Times
Flashback Friday, or, into the future.
After the recent events in Charlottesville, I am posting a partial image from Meet Me at the Mason Dixon: A project in painting, photography and installation that I realized during the years 2003-2009, while living and teaching in Washington, D.C.
The project in its entirety was exhibited at Schmucker Art Gallery at Gettysburg College in 2011, with a catalog and accompanying texts by Shannon Egan and Miguel de Baca. In brief, this project examines the contested legacy of race and identity from the American Civil War onward, and the sign systems that point to those fraught subjectivities and histories. It is uncanny that my initial intuition about the repressed issue of race relations before and after 9/11 was confirmed by the growing civil unrest in American cities throughout these past years. 9/11 turned the collective consciousness elsewhere, namely to a foreign invader, becoming the country’s addressee in a long, protracted war while the social fabric of American society was itself coming undone. The ongoing dispute over heritage and removal of Confederate monuments from public space highlights that the familial and cultural attachments to history are ephemeral, and subject to change with each new generation. This is the space that Meet Me at the Mason Dixon occupies. As Erika Doss wrote in a special issue of Public Art Dialogue, The Dilemma of Public Art’s Permanence, 2016, “Public art is processual, dependent on various cultural and social relationships and subject to the volatile intangibles of multiple publics and their fluctuating interests and feelings”…“Public art is not, in other words, forever.”
Join us tonight for the opening of "Social Photography V" at Carriage Trade, a non-profit art organization in the Lower East Side. The exhibition will be on view July 11 - August 12, 2017.
I have contributed a photograph along with many others in the art community to support future programming at the gallery. My work, and all other works in the exhibition can be viewed and purchased online:
Hope to see you there!
Opening: 6 - 9 pm
277 Grand St, 2nd FL
New York, NY 10002
Opening today! A national survey on contemporary drawing practices.
Drawing Practice/Bellingham National 2017
June 11 - September 10, 2017 / Whatcom Museum, Bellingham, WA
Juried by Catharina Manchanda (Jon and Mary Shirley Curator of Modern and Contemporary Art, Seattle Art Museum)
Juror tour of the exhibition: Sunday, June 11, 2017, 1:00 pm
Whatcom Museum, Lightcatcher Building, 250 Flora Street, Bellingham, WA: 360.778.8930
Please join us!
Lisa Blas / "Monday's image" at Emily Harvey Foundation, New York, on March 23, 2017. Many thanks to all who attended this one night special event!
March 23, 2017
1:00 - 9:00pm
Opening March 23 - 7:00pm
Monday's image is a weekly web-based project begun in 2015 by Lisa Blas in the News section of her website, presented as a video work for a special one night-event at the EHF.
Natasha Becker presents three New York City artists, LISA BLAS, BRADLEY McCALLUM and DAAPO REO, at this year’s SPRING/BREAK Art Show.
The title of the exhibition is inspired by Chimamanda Ngozi Adichie’s 2013 novel about identity and belonging in a global landscape.
Contained within Adichie’s neologism, Americanah, is the word Americana which describes the many different kinds of artifacts that make up the history, geography, folklore and cultural heritage of the United States. The American flag is an iconic symbol within this collection of artefacts, representing a national identity that is based on the principles of liberty, justice, and humanity. It is an inspiring image but one that can also highlight moments where the nation falls short.
By adding an ‘h’ at the end of the existing word, Adichie extends its meaning to describe, defend, and criticize a complex process of becoming in which identity is not predicated on the seeds of nationality or the ground of place but rather on experience (relations of identity, nationality, race, difference, loneliness, aspiration, love) and trajectory (the path one follows through place and time).
The exhibition explores the delicate balance between expressions of American idealism and the freedom of artists to comment on times where nations falls short of their ideals.
Lisa Blas investigates how a single representation is mediated in its time of origin and redeployed in changing economies of signs and significations. Her poetic flag portraits representing Emily Perez (the highest decorated African-American and Hispanic woman to have died in the recent Iraq War) are potent symbols of vulnerability and in her newest series of vibrant collages, entitled “The Instability of Nature Morte (reconsidering monument[ality] under the throwaway evidence of work”, she explores personal and activist responses to contemporary political culture.
Bradley McCallum transforms news media images of burnings of the American flag into shimmering abstractions of flames, figures and fragments. Flag burning is a practice long associated with protest against the policies of a government or nation. His series of protest paintings (2015/2016) link the power and beauty of national icons with intense longing and demands for fairness and justice.
Daapo Reo reinvents the popular red, white and blue as a symbol of African aspirations, “ALCOHOLOTOPIA (A GEOPOLITICAL DREAM UNDER THE INFLUENCE,” and belonging, “AFRIKAN HISTORY X: GAY IS THE OLD BLACK, BITCHES!”. Reo’s flags are made from different African textiles representing layers of personal history, cultural memory, and conflicting experiences to comment on utopian aspirations and past and current realities, poking fun at privileged elites and anonymous masses along the way.
“Americanah” at SPRING/BREAK Art Show, 1 - 6 MARCH 2017, NEW YORK Times Square, NYC (entrance on 43rd Street)
For queries please CONTACT | NATASHA BECKER | curator | T: 917.601.6625 | E: n email@example.com
Emergency Eyewash (Carol Szymanski and Barry Schwabsky) with Lisa Blas, Judith Goldman, Siv Støldal, Tyrone Williams, and John Yau
January 12 – February 18, 2017
524 West 19th Street
New York, NY 10011
Tanja Grunert is pleased to present the exhibition debut of Emergency Eyewash, a conceptual “label” conceived by Carol Szymanski and Barry Schwabsky as a vehicle for collaborations using texts, imagery, and objects. In particular, Emergency Eyewash aims to open up space for language arts outside the medium of the book and the computer screen.
Full press release and installation images here:
My exhibition "After lost space(s)" is now on view! Please join us for the closing reception on Saturday, March 12, 2016 at Kai Matsumiya gallery.
The show is up for one week only, Tuesday, March 8 - Sunday, March 13, 2016, as part of special programming entitled "Don't Make A Scene". Further information on "Don't Make A Scene" via Interview Magazine.
I look forward to greeting you!
Dear viewers & readers,
Greetings! I will be participating in the annual EFA Open Studios during Armory Week on Tuesday, March 3rd. Opening: 5:00 pm - 9:00 pm. It is a festive event with over 60 artists who will be participating, many of whom are friends and collaborators.
Join me for conversation and viewing of my recent projects at studio #608.
Hope to see you there!
EFA Open Studios
323 W. 39th Street, #608
New York, NY 10018
(between 8th & 9th Avenues)
Happy New Year!
I'm pleased to announce the re-launch of my website, lisablas.com.
The new site features current projects, installations, exhibition documentation, earlier work and related audio, video and texts. As new projects are added in Current(s), the Resources and Researching(ing) pages will grow alongside them. These pages will include some of my research endeavors so as to provide a platform for sharing information between artists, writers, scholars, educators and historians. The News section will announce lectures, studio activities and exhibition projects, and act as a space of discussion linked to the above-mentioned platform.
With all that said, I hope you have a chance to peruse the site this winter. Thank you!