- Creative Practice
My-O-My celebrates an erotic, queer magazine of the same name from the late 1960s and ‘70s. In Middletown, New Jersey during 1972, police entered a bookstore without a warrant and confiscated the publication which was viewed as profane, resulting in a legal dispute. Each piece within the exhibition represents one of the thirty-two pages of the magazine. The pages have been reproduced on fabric and turned into genderless sculptures. Walking through the space, one may experience the publication as life-size, as if paging through the magazine itself with their whole being. The subject matter calls back to a time of queer repression and seeks to bring it to light, reminding us to celebrate progress to this day. This small part of history may have been lost but is now remembered for the ways in which freedom and love have triumphed through years of repression. Especially today, freedom of identity and remembrance of the past are more important as we face another oppressive political climate.
Photos by Jade Yumang
The Map Is Not the Territory examines the construction of representation through socially and lawfully imposed, arbitrary boundaries. Drawn from Polish-American philosopher and linguist Alfred Korzybski’s publication Science and Sanity, the title addresses the distinction between an entity and its abstraction. The aim is to interrogate discrepancies between reality and belief in response to the current ubiquitous use of non-sequiturs in the public arena. Conceived at the dawn of an unprecedented, divisive presidency, the exhibition upholds the spirit of resistance against misrepresentation and the commandeering of identities in our history and contemporary culture.
Curated by eight women from various countries and regions around the world, The Map Is Not the Territory applies the concept of kintsugi, a Japanese form of pottery that highlights fractures with precious metals. Selected by each curator, the artworks are singular fragments that reflect a myriad of perceptions of physical and ideological borders. Taking its cue from this repaired earthenware, the exhibition forces a cohesion of conceptual and formal differences that make them glimmer as a reconciled whole.
All works question our preconceived understandings of entities, whether it is people, places or concepts, by subverting misrepresentations of reality. The resilience and resistance of these individual works are amplified in aggregate in The Map Is Not The Territory. In addition to paintings, photographs, sculptures and media art, site-specific work engages the exhibition space itself, anchoring the concept in the context of the Pfizer Building.
Photos by Birdie Piccininni
Jasa McKenzie is a visual artist, exhibiting her work regionally and nationally. She focuses on oil painting, digital photo manipulation, and collage. Her work addresses themes of morbidity and decay, the human form, and the power of the female form in the face of stereotypes.
Group Exhibitions:Spring 2017, Hope Art Competition - Expressing Your Unique Identity, SVA Flatiron Project Space, New York, NY
Awards:Hope Art Competition Finalist