SPRING/BREAK Art Show, Panel with the National Trust for Historic Preservation and more! →
SPRING/BREAK Art Show
Excited to participate in booth 1117, an ecological refuge co-curated by Rachel Frank and Sarah Grass!
‘𝑺𝒂𝒍𝒗𝒆, 𝑺𝒂𝒏𝒄𝒕𝒖𝒂𝒓𝒚, 𝑺𝒆𝒆𝒓’ is an immersive exhibition presenting new remedies, rituals, and responses to our collective ills by Vanessa Albury, Rachel Frank, Beatrice Glow, Sarah Grass, Heidi Norton, Kylin O’brien and Zulu Padilla.
Get your tickets now through here and come see us in September✨9/7-9/12, 11am-8pm, 625 Madison Ave.✨
#springbreakartshow #springbreakartshow2022 #nakedlunch #salvesanctuaryseer #armoryweek #contemporaryart #ecological #refuge
In response to a plague and a climate in crisis, Salve, Sanctuary, Seer is an ecological refuge. The artists included in this immersive exhibition will present new remedies, rituals, and responses to our increasingly tumultuous time.
In the 1630’s the French town of Loudun was emerging from the plague during a time of increasing social unrest between the Catholics and the Huguenots. During this time of anxiety and division, multiple nuns from the local convent each claimed to be possessed by the devil. Staged exorcisms, accusations, and an obsession across Europe with the events at Loudun marked this time as medieval Europe moved into the age of Enlightenment and the public faced collective conflicts between the roles of mysticism, religion, the body, and scientific thought.
Currently we are amidst an emergence (mostly) from our own pandemic era. The climate crisis is reaching a potentially non-returnable tipping point just as our own country has become increasingly fractured and politically polarized. During tumultuous times of upheaval, division, and chaos, where events seem largely out of personal control, historically the individual has searched for new rituals, myths, defenses, and strategies to grapple with difficult situations, which can manifest physically or spiritually.
Amidst an over-abundance of plants to purify the air, Salve, Sanctuary, Seer, will present the works of Vanessa Albury, Rachel Frank, Beatrice Glow, Sarah Grass, Heidi, Norton, Kylin O’Brien, and Zulu Padilla. From the creation of an ecological current(cy), to the covering (or uncovering) of ceramic bones, to gathering offering vessels made for indicator species living in the liminal areas between land and sea, virtual world building based on past colonial injustices, the medicine of metaphor, non-human animals steeped in the symbolic, the cementing of objects (and memories) in resin and wax, and responsive crystal channeling, the artists included in this immersive exhibition will present new remedies, rituals, and responses to our increasingly tumultuous time.
BMA Curators Celebrate the Art of Collaboration
As curator of American art at the Baltimore Museum of Art, Virginia Anderson is particularly focused on the last few words of its mission statement—to create “a museum welcoming to all,” with a goal of assembling exhibitions that center on the voices and experiences of historically marginalized groups.
One of the keys to that success? Her BMA colleagues.
“There are so many things you have to balance as a curator working with different departments to make the art and the narrative shine,” says Anderson, 51, formerly assistant curator at the Harvard Art Museums. “I’ve experienced collegiality at every museum I’ve worked in, but I think intellectual resourcing is having a moment.”
Comparing notes and research with colleagues across multiple departments allows Anderson to present exhibitions of American art that showcase a more inclusive art history, both in the selection of objects and in the display itself. Since arriving at the BMA, she has curated four exhibitions—two solo shows, with works by female contemporary artists, and two group shows, showcasing art movements, such as women modernists. And each has been created with the help of her first hire—curatorial assistant Sarah Cho, an art history major hired straight out of Princeton University.
The duo’s most recent collaboration is the first time that Cho has fully stepped into the role of co-curator. Three years in the making and up through October 2, Beatrice Glow: Once the Smoke Clears occupies three galleries in the museum’s Contemporary Wing, showcasing cross-disciplinary works by the bicoastal artist-researcher, including the first-ever virtual reality-sculpted and 3D-printed objects exhibited at the BMA. Glow examines histories of Indigenous, Chinese, and Black communities as they relate to the Chesapeake Bay tobacco trade, recasting the white depiction of the region’s history.
Anderson and Cho hope that people will attend the exhibit, read the accompanying wall text, and be inspired to continue learning more about the substance of Glow’s work.
“What Virginia and I wanted to do is spotlight aspects of Beatrice’s research,” says Cho, 26. “One of the major goals of Beatrice’s work is highlighting solidarities between Asia and the Americas.”
Both women are the exhibit’s co-curators—or “thought partners,” as Cho describes them—but they’re quick to point out that Glow’s exhibition would not have been possible without the entire museum staff.
“The museum can function as a kind of lab,” says Anderson. “Just as within the sciences, you have collaboration and research from a team of people that supports a particular project or angle of inquiry…This collaborative approach to research can only benefit our audiences.”
ARTISTS IN CONVERSATION: OCEANIC PASTS AND CURRENTS
ARTISTS IN CONVERSATION: OCEANIC PASTS AND CURRENTS
Artists in Conversation
Saturday, June 25, 2022, 4:00 pm
In conjunction with A Thousand Secrets
During this 90-minute session, artists Beatrice Glow and Deborah Jack will reflect upon their creative process and inspirations, the role of oceanic thought and histories within their work, and how legacies of colonialism continue to shape our present reality. Facilitated by the curator of A Thousand Secrets, Mae A. Miller, they will explore the radical possibilities of learning across oceans, genres, and storytelling traditions.
Beatrice Glow is an interdisciplinary and multisensory artist working in service of public history and just futures. Through diasporic and decolonial lens, she interrogates the visual languages of luxury and power derived through the exploitation of botanical life. Her solo exhibitions include Once the Smoke Clears, Baltimore Museum of Art, 2022, Forts and Flowers, Taipei Contemporary Art Center, Taiwan, 2019, and Aromérica Parfumeur, Museo Nacional de Bellas Artes de Chile, 2016. Her work has been supported by Yale-NUS College, Smithsonian Artist Research Fellowship, Lower Manhattan Cultural Council, Asian/Pacific/American Institute at New York University, and the Fulbright Scholar Program.
Deborah Jack is a St. Maarten and Jersey City based multi-disciplinary artist who works in video/sound installation, photography, painting and text. Her work engages a variety of strategies for mining the intersections of histories, cultural memory, ecology, and climate change, while negotiating a global present. She has exhibited at Perez Art Museum of Miami, Museum of Latin American Art in Los Angeles, SITE Santa Fe, and the Brooklyn Museum of Art, with reviews in Hyperallergic, Frieze, Artsy and the New York Times. In Fall 2021 Deborah Jack: 20 Years was presented at Pen + Brush in New York City.
See original post here: https://apexart.org/millertalk.php
Rhunhattan Tearoom on view in the Dining Room of Lyndhurst Mansion for the "Women's Work" Exhibition
On August 4 and September 20, the National Trust for Historic Preservation is hosting two events inspired by "Women's Work." Learn more and register.
From May 26 to September 26, 2022, National Trust Historic Site Lyndhurst is presenting “Women’s Work,” an exhibition that marks the evolution of women artists—from the domestic handcraft tradition of the 18th and 19th centuries to the practice of many contemporary artists. Curated by Lyndhurst’s Executive Director Howard Zar, Nancy Carlisle of Historic New England, and Rebecca R. Hart, an independent contemporary art curator, “Women’s Work” is—in Zar’s words—“ultimately about ownership of identity.”
A 19th-century home whose history is shaped by three different families and their staff, Lyndhurst has, in recent years, focused more on sharing women’s history—a key part of the National Trust program Where Women Made History, which identifies, honors, and elevates places across the country where women have changed their communities and the world. Within both the mansion and the Lyndhurst gallery space, visitors to “Women’s Work” encounter more than 125 objects and art pieces all produced by an inclusive group of women artists.
The intent behind this exhibition was one of celebration, providing an opportunity for visitors to engage with hundreds of years of artwork by women artists. It’s not every day that needlepoints by First Ladies Martha Washington and Dolley Madison sit next to a fan by Miriam Schapiro, steps away from a performance piece by Yoko Ono, or a remarkable art piece by Faith Ringgold—each a revolutionary artist in the field of contemporary art. As Zar wrote in the catalog, “I wanted to tell the story of triumph and remind contemporary audiences that the things we now take for granted are often the result of hundreds of years of gestation, much less struggle.”
See more: https://savingplaces.org/stories/womens-work-lyndhurst#.YtbXTuzMJ3k
Exhibitions at Baltimore Museum of Art, Lyndhurst Mansion and apexart! →
NYU Liberal Studies Student Colloquium Keynote with Beatrice Glow
Please watch the March 25, 2022 keynote address here.
Yale-NUS College Artist-in-Residence
Last year, I spent almost 6 months in Singapore as the Yale-NUS College Artist-in-Residence. This was an amazing portal that opened up during the pandemic wherein I got to travel, meet new friends, work with students in person, make new works (many now being show at Baltimore Museum of Art) an enormous workspace at Gillman Barracks as part of the NTU CCA artist residency program and of course, eat delicious Singaporean food. The very brilliant Prof. Tom White coordinated my residency. Luckily, he is also an acclaimed photographer and journalist, so the result is that he documented various stages of my journey with his interdisciplinary know-how. It was also joyful to watch this video and see the wise curator Siddharta Perez and two brilliant students, Aarti Pillai and Ishmam Ahmed, share their practice as well.
Between Rhun and Manhattan
Feeling Joyful to receive this gift of a poem from Malukan journalist and poet Rudi Fofid, whom I had the pleasure to interview and film for my Rhunhattan: A Tale of Two Islands project.
Between Rhun and Manhattan
(A tale for Beatrice Glow)
I paint nutmeg from Rhun Island
on your forehead
between your eyeballs
so if you send a smile wave
I see red mace smiling
makes me fly to the top of the sky
you're more magical than the statue of liberty
standing in Manhattan's epigastrium
read a quiet stream poetry
sing the "Redemption Song"
you're calling out a tsunami wave
erupted from the blue waters of the Banda Ocean
sweeping the scars of black history
between Rhun and Manhattan
Ambon, April 25, 2022
Smell, History and Heritage
Séance Fiction at the Pfizer Building, curated by Kevin Wu
Solo Exhibition at Baltimore Museum of Art | Beatrice Glow: Once the Smoke Clears
May 15, 2022 — October 2, 2022
Beatrice Glow is a New York- and Bay Area-based multi-sensory and interdisciplinary artist whose work explores the social history of plants. For her first exhibition in a major U.S. museum, Glow delves into the unseen and unsavory sociohistorical and ecological realities underlying the tobacco industry’s veneer of luxury through her digitally printed and embroidered silk textiles, VR-sculpted and 3D-printed objects, watercolors, and scent experiences.
In exploring the global uses of tobacco, Glow questions the embedded histories of visual culture by critiquing unresolved injustices wrought by colonial desires to profit from the lucrative tobacco trade. The artist weaves together tantalizingly decadent surfaces with imagery derived from historical sources, and examines the networks through which tobacco spread across the world.
While the works initially appear as a celebration of opulence, closer inspection reveals the cascading impacts of colonialism, capitalism, and inequitable trade networks.
Curated by Sarah Cho, Curatorial Assistant of American Painting & Sculpture and Decorative Arts, and Virginia Anderson, Curator of American Art.
See the full issue of BMA Today
Spring 2022 Newsletter →
Dear Friends and Colleagues,
I am elated to share that my first solo US museum exhibition, ‘Beatrice Glow: Once the Smoke Clears,’ will show at Baltimore Museum Art from May 15 to October 2nd, 2022! This three gallery exhibition has been thoughtfully curated by Sarah Cho, Curatorial Assistant of American Painting & Sculpture and Decorative Arts, and Virginia Anderson, Curator of American Art, and has been in-the-making for a few years since my research began at the Smithsonian Institution in 2018. I will be present at the May 15 opening in addition to holding two in-person workshops “Aromatic Realities,” on May 19 and 21 (stay tuned for registration details). I hope to see some familiar faces there!
I will also be delivering a keynote presentation about my creative process on March 25 for the 5th Annual NYU Liberal Studies Student Research Colloquium. Some of my works will be shown at Lyndhurst Mansion, SVA MA Curatorial Practice and Apex Art as part of their group shows. Dates are below. This March I created a VR work at the US Customs House, Bowling Green, NY, as part of the #MakeUsVisible campaign! This was generously organized by XR Ensemble. You can see the works through end of March. Details below.
Warm wishes,
Beatrice
NYU 2022 Liberal Studies 5th Annual Student Research Colloquium
I will be presenting my first keynote lecture on March 25, 2022! This event was originally scheduled for March 24, 2020 and I am glad that it will finally be taking place! Please register for the online event following the button below and learn more about the event here.
RSVP for the event here: https://nyu.zoom.us/webinar/register/WN_nd4Visy7TMGUoGH-OjcFYA
UPDATE: Here is a recording of the talk .
Artist Lecture: Storytelling to Reworld: Beatrice Glow →
BEATRICE GLOW is an artist-researcher leveraging interactive multimedia installations and multi-sensory experiences.
About this event
BEATRICE GLOW is an artist-researcher leveraging interactive multimedia installations and multi-sensory experiences in service of public history and just futures. Her diverse practice includes sculptural installations, olfactory art, emerging media, and multi-lingual publishing. Working through anti-colonial and diasporic lens, Glow often co-labors with scholars and community stakeholders to assemble surviving fragments and question dominant narratives. Her ongoing research into the social histories of plants sketches vignettes about the entangled realities of dispossession, enslavement, migrations and extractive economies.
Her solo exhibitions include Forts and Flowers, Taipei Contemporary Art Center, Taiwan, 2019 and Aromérica Parfumeur, Museo Nacional de Bellas Artes de Chile, 2016. She also was a participating artist in the Inaugural Honolulu Biennial, 2017. Her work has been supported by the Yale-NUS College Artist-in-Residence Programme, Smithsonian Artist Research Fellowship, Lower Manhattan Cultural Council, Asian/Pacific/American Institute at New York University, and the US Fulbright Scholar Program, amongst others.
Presented by the DREAM (Diasporic Research Engagement in Art and Media) Centre and the Public Visualization Lab. Special thanks to OCAD University’s Office of Research and Innovation and Computational Arts, AMPD, York University.
Fall 2021 Newsletter
A Necessary Future Together, Now: Contemporary Asian Women Artists in America, essay by Alexandra Chang
The prolific curator, writer and educator Alexandra Chang included me in her essay “A Necessary Future Together, Now: Contemporary Asian Women Artists in America" alongside artists Tomie Arai, Jean Shin, Saya Woolfalk, Mary Ting, Shahzia Sikander, Kaili Chun, Jaishri Abichandani, María Magdalena Campos-Pons, Samita Sinha, CYJO and Mina Cheon for the Asia Society Triennial catalogue. What an honor! Here is an excerpt:
“Beatrice Glow has been working since 2014 on her Rhunhattan series of projects, slowly building a global yet radically local process that incorporates allyship, coalition building, and connecting communities. These projects connect the historical paths of global colonial trade, extraction, and erasure of indigenous communities, tied to the spice-trade routes from the Banda Islands to Manhattan Island…Glow’s work in multimedia and multisensory installation complicates one’s perceptions of temporal position, ownership, and place while it honors and preserves past and present indigenous stories for our futures.”
An Archipelagic AIR: Episode 3, Yale-NUS College Artist-in-Residence Podcast
“Going along this continued conversation that we have been having about archipelagic thinking, it dovetails well with diasporic thinking, relational thinking, empathetic thinking and that really helped me look at the map of Austronesia in a different layered way.”
Imagining Climate Futures
Of the exhibition’s artworks, Beatrice Glow’s mock-luxe multimedia installation Smoke Trails (2021) creates the most developed world. Set in the year 2068, the project imagines the fictional estate sale of a quadrillionaire family, nicknamed the “Empire of Smoke,” that made its fortune in the tobacco and arms industries. The ornate, faux-porcelain and -gold objects — from pipes to rifles, to vape pens — have been 3D printed and displayed on a gallery wall, and are also displayed in a VR-generated video tour of the dynastic family’s mansion. But Smoke Trails achieves its most complete expression in the published “mocktion” catalogue, “The Collection of the EoS10^15” (2021), produced by Glow and Jeong-A Kim.
The 100-page-long auction catalogue stands out not only because the form lends itself well to satire (for example, a vape pen prototype is extolled for its rarity in the year 2068) but also because books provide ample room for what fiction writers and game designers call worldbuilding. Worldbuilding is particularly important for genres such as sci-fi and fantasy, in which the fictional universe differs substantially from the actual one, but, whatever the genre, elements such as character, folklore, and setting provide the story with coherence and depth. Broadly speaking, there are two types of worldbuilding design: top-down, which begins with a thorough, big picture schema and fills in details from there; and bottom-up, which begins with relevant details and only sketches out the big picture as needed.