An image of a person making flower-shaped beaded porcupine quill earrings.

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Melody Markle

Hosted in tandem with Olivia Whetung’s exhibition *Sugarbush Shrapnel*, families and individuals are invited to learn about designs, materials and technique of the single-needle beadwork method in these intimate workshops with Algonqiun Anishinaabe beader Melody Markle. After an introduction to Markle’s practice and inspiration, participants will create their own pair of beaded porcupine quill earrings in this hands-on workshop.

### Biography 

Kwey! Waywayni-Boozhoo! Melody Markle is Algonqiun Anishinaabe from Winneway First Nation, and belongs to the Bear Clan. She attended Georgian College and Ryerson University that specializes in Anishinaabe Education and Social Work. She is an Old Style Jingle Dancer and finds inspiration around Turtle Island within the trees, animals, plants and the water beings. She is humbled to carry the responsibility of handling plant medicines and offering gratitude when she is beading floral designs. Melody infuses both traditional and contemporary materials in her work that includes bones, quills, shells, glass beads, sweetgrass, birch bark and leather. Melody continues to weave her Anishinaabe stories through her artwork as a way to remember and continue to seek Mino—bimaadiziwin (the Good Life).


Beaded Porcupine Quill Earrings with Melody Markle

Beading Workshop

Hosted in tandem with Olivia Whetung’s exhibition *Sugarbush Shrapnel*, families and individuals are invited to learn about designs, materials and technique of the single-needle beadwork method in these intimate workshops with Algonqiun Anishinaabe beader Melody Markle. After an introduction to Markle’s practice and inspiration, participants will create their own unique beaded appliqué piece by first exploring a number of resources to develop their own design. Learn the process of beading directly into fabric to create a striking image.

### Biography

Kwey! Waywayni-Boozhoo! Melody Markle is Algonqiun Anishinaabe from Winneway First Nation, and belongs to the Bear Clan. She attended Georgian College and Ryerson University that specializes in Anishinaabe Education and Social Work. She is an Old Style Jingle Dancer and finds inspiration around Turtle Island within the trees, animals, plants and the water beings. She is humbled to carry the responsibility of handling plant medicines and offering gratitude when she is beading floral designs. Melody infuses both traditional and contemporary materials in her work that includes bones, quills, shells, glass beads, sweetgrass, birch bark and leather. Melody continues to weave her Anishinaabe stories through her artwork as a way to remember and continue to seek Mino—bimaadiziwin (the Good Life).


An image of a person making a flower-shaped beaded appliqué piece. 

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20191130-170858-FE2_webUSE.jpg

Appliqué with Melody Markle

David Morrissey

Djuna Croon

Ingrid Koenig

In this exciting conversation, art and physics converge as Ingrid Koenig, currently Artist-in-Residence at [TRIUMF,](https://www.triumf.ca/) Canada’s particle accelerator centre, speaks with TRIUMF laboratory scientist and Deputy Department Head, David Morrissey, and postdoctoral research fellow, Djuna Croon, on the intersections of scientific and artistic thought.

### Biographies

Ingrid Koenig is the recipient of grants from the Canada Council for the Arts and the Goethe Institute, as well as the Social Science and Humanities Research Council (SSHRC) for the project *Leaning Out of Windows—Art and Physics Collaborations Through Aesthetic Transformations* (2016-2020), co-awarded with artist collaborator Randy Lee Cutler. Koenig has exhibited her drawings and paintings in public galleries across Canada, Europe and New Zealand. In 2019 she was awarded a Canada Council for the Arts grant to join the Arctic Circle Art & Science Residency in the international territory of Svalbard. Koenig earned her MFA at NSCAD, Halifax. Based in Vancouver, she is an Associate Professor at Emily Carr University of Art + Design.

Djuna Croon is a researcher in theoretical particle physics, astro-particle physics and cosmology. She has worked on cosmic inflation, extended Higgs sectors, boson starts, phase transitions, and, most recently, gravitational waves. Croon is also an enthusiastic science communicator, committed to making academia more inclusive. She is currently a postdoctoral researcher at TRIUMF in Vancouver, and sketches and paints in her spare time.

David Morrissey is a research scientist at TRIUMF and an adjunct professor at the University of Victoria. His research focuses on the Standard Model of elementary particles and the search for new phenomena beyond it. A central goal of his work is to try to understand what dark matter might be and how it could be tested directly in the laboratory or indirectly through astronomical observations. The puzzling excess of ordinary matter over antimatter is a second focus for Morrissey, and he investigates how this asymmetry may have been created in the very early universe. He also studies the newly discovered Higgs boson and the origin of its curiously small mass.

### Accessibility

This event will take place in the Roundhouse Multimedia Room on the 2nd floor which is accessible by elevator.


A graphite drawing depicting an imaginary machine with a black tube-like shape attached on top of a box. 

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Ingrid Koenig in conversation with Djuna Croon and David Morrissey

Talk

Olivia Whetung

Nicole Preissl

Clifford Atleo

Join us for a conversation on food sovereignty, environmental sustainability and knowledge transfer with artist Olivia Whetung, Indigenous governance scholar Clifford Atleo and exploratory designer Nicole Preissl, who will lead a research/creation project on plants and place at the Burnaby Art Gallery later this fall.

This event is organized by CAG in partnership with the [Burnaby Art Gallery](https://www.burnaby.ca/things-to-do/arts-and-heritage/burnaby-art-gallery.html) and [Emily Carr University of Art + Design](https://www.ecuad.ca/).

### Biographies 

Olivia Whetung is a member of Curve Lake First Nation and a citizen of the Nishnaabeg Nation. Her work has been the focus of solo exhibitions at Gallery 44, Toronto (2018); Alternator Centre for Contemporary Art, Kelowna (2018); Artspace, Peterborough (2017); and 180 Projects, Sault Ste. Marie. She has contributed to two-person and group exhibitions at Queen’s University, Kingston (2019); Crystal Bridges Museum of American Art, Bentonville, Arkansas (2018-19); Textile Museum of Canada, Toronto (2018); Art Gallery of Mississauga (2018); Carleton University Art Gallery, Ottawa (2017); Access Gallery, Vancouver (2016); Western Front, Vancouver (2016); Axe Neo 7, Gatineau; VIVO Media Arts Centre, Vancouver (2016); Open Space, Victoria (2014); and many others. She completed her BFA with a minor in Anishinaabemowin at Algoma University (2013) and her MFA in Visual Art at the University of British Columbia (2016). She was awarded the John Hartman Award in 2018, the William and Meredith Saunderson Prize for Emerging Artists in 2016, and is a recipient of a CGS-M Social Sciences and Humanities Research Council Award and an Aboriginal Graduate Fellowship. In 2019 she was awarded a Joseph S. Stauffer Prize by the Canada Council for the Arts.

Clifford Atleo is a Tsimshian (Kitsumkalum/Kitselas) and Nuu-chah-nulth (Ahousaht) scholar who researches Indigenous governance, community development and political economy. His doctoral research focuses on the political economy of the Ahousaht on the west coast of Vancouver Island, in both historical and contemporary contexts. He is interested in how Indigenous communities navigate/adopt/resist mainstream capitalism while working to sustain their unique cultural identities, practices and worldviews. Atleo is particularly interested in how Indigenous communities and leaders continue to assert agency within the confines of settler colonial politics and economics. Atleo is an Assistant Professor in the School of Resource & Environmental Management at Simon Fraser University.

Nicole Preissl graduated from the ECUAD Bachelor of Design program in 2019, with a focus on indigenizing design creation and teaching. She is an explorative designer who uses natural materials to influence her work. From both Sto:lo and Squamish descent, Preissl began introducing traditional artistic customs into her practice as a means of connecting to her culture. She does this by passing along sacred teachings from elders and community members alike, while introducing people to natural ways of making with Indigenous materials. She currently works as an artist and instructor for the EartHand Gleaners Society and continues to lead participatory walks that include sharing knowledge and ethics of stewardship and foraging. Preissl is an active alumna and Emily Carr community member, passing on her knowledge to others through workshops in the Aboriginal Gathering Place. During Fall/Winter 2019/2020, she will be leading a research/creation commission with the Burnaby Art Gallery around local plants, foods, and stories embedded into place.


An image detail of a wood veneer panel with a rendering of flowers blooming. The rendering is composed of bead-embroidered and wood-burned lines.

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Olivia Whetung in conversation with Clifford Atleo and Nicole Preissl

Sreshta Rit Premnath

Join exhibiting artist Sreshta Rit Premnath for an informal conversation with CAG Curator Kimberly Phillips in his installation space, discussing the broader concerns underpinning his exhibition and artistic practice.

### Biography 

Sreshta Rit Premnath is a multidisciplinary artist and the founder and co-editor of the publication Shifter. His work has been the focus of solo exhibitions at Rodriguez Gallery, Poznan (2019); Ace Gallery, Los Angeles (2017); Nomas Foundation, Rome (2017); Kansas Gallery, New York (2014); Gallery SKE, Bangalore (2013); The Contemporary Art Museum St. Louis (2012); Tony Wight Gallery, Chicago (2012); Galerie Nordenhake, Berlin (2011); and Art Statements, Art Basel (2010). He has participated in group exhibitions at venues including Westfällischer Kunstverein, Münster (2019); Gallery Isabelle Van Den Eynde, Dubai (2017); Queens Museum, New York (2015); YBCA, San Francisco (2011); Galerie Balice Hertling, Paris (2010); and 1A Space, Hong Kong (2010). With a BFA from The Cleveland Institute of Art and an MFA from Bard College, he attended the Whitney Independent Study Program, Skowhegan and Smack Mellon. Premnath has received grants from Art Matters and the Civitella Ranieri Foundation, and was awarded the Arthur Levitt Fellowship from Williams College. Based in Brooklyn, Premnath is the Director of the BFA Fine Arts program at Parsons School of Design, The New School, New York.

An aluminum bench is installed in the corner of a gallery. On it sits a thin, slumped foam cutout in a human-like form. An exit sign reading EXILE instead of exit hangs on the wall above.

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with Sreshta Rit Premnath

Exhibition walk-through

Tiziana La Melia

Elisa Ferrari

 Megan Hepburn

Jane Ellison

Unfolding over a two-month period in fall 2019, *all the things in the room* was a series of artist-led workshops held weekly at the Museum of Vancouver (MOV). Organized by artist Elisa Ferrari in collaboration with Jane Ellison, Megan Hepburn and Tiziana La Melia, the project invited participants of varying ages to experience select artifacts from the MOV collection through a range of sensory encounters. 

In a process that sought to question the “official” historical and colonial narratives projected onto everyday objects as they enter institutional collections, participants were guided through interactions with artifacts rooted in sound, smell, movement, and extra-sensory perception. Each workshop engaged objects on an intuitive level—as catalysts to activate memories, create connections and complicate known histories—rather than as repositories of institutional knowledge.

Working beyond the contexts of traditional museum engagement, the project reflected on the complex entanglements–material, personal, relational–embodied by any given object, multiplicities routinely flattened in service of institutional authority. This workshop series considered what might be accomplished through vibratory or olfactory modes of engagement, meeting objects and one another outside the frame of the museological. 

The Museum of Vancouver is located on the unceded territories of the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, and səl̓ílwətaʔɬ First Nations, at the site of the ancestral Village of Sen̓áḵw, neighbouring the current Sḵwx̱wú7mesh reserve of the same name. 

This project was a partnership between the Contemporary Art Gallery (CAG), the Museum of Vancouver (MOV), and the South Granville Senior Centre (SGSC) and was initiated by CAG Curator of Learning and Public Engagement Danielle Green and past CAG Curator Kimberly Phillps. The project was funded by the Canada Council for the Arts with additional support received from Nada Vuksic, Bruce M. Wright, David Lemon and The Hamber Foundation.

### Biographies 

Elisa Ferrari’s interdisciplinary practice and collaborations are concerned with memory formation, idleness, sonic sediments, translingual ecologies, somatic interrogations, and the infrasonic. She primarily works with sound and text, through publication, performance and installation. Her projects often stem from considerations of place with particular attention to the repercussions of extractive economies. She co-hosts Soundscape on Vancouver coop-radio and (occasionally) organizes events and other happenings. She was born in Brescia and grew up in Val Trompia, Italy. She is an uninvited guest on unceded xʷməθkʷəy̍əm, Skwxwú7mesh and səl̓ílwətaʔɬ  territories where she has lived and worked since 2009.

Jane Ellison is a dancer, teacher and artist focused in embodied anatomy and somatic practices. Since 1975 Ellison has led movement classes and workshops and collaborated in performance art works.  Her cross-disciplinary work emerges from her long involvement with the Vancouver artist-run centre, Western Front, a locus that has acted as studio space, gallery, dance studio and home to artists. Between 1990 and 2008 her position on faculty at Studio 58, Langara College’s theatre school, provided another platform for her research into the relationships between movement, art, performance and life.

Megan Hepburn is an artist living in Vancouver, the unceded territories of the Sḵwx̱wú7mesh (Squamish), Stó:lō and Səlí̓lwətaʔ/Selilwitulh (Tsleil-Waututh) and xwməθkwəyə̓ m (Musqueam) Nations. Her practice is based in painting and perfumery, and her work has shown across Canada and in Europe for the past decade. Recent exhibitions include contributions to *The Pandemic is a Portal* at SFU Galleries and *Passing Through Smoke*, at CSA Space, Vancouver. Hepburn started the botanical perfume line *Cracher Dans La Soupe Parfum* in 2018 and is currently working through experimental mixed media practices combining the worlds of scent, textiles, painting, ceramics and pharmakeia. 

Tiziana La Melia considers how thought and observation assume form across mediums and experience—exploring narrative, both the mending kind as well as the fantastical. Paintings and poems are the result of long-term, collaborative investigations of desire, gender, architecture, painting, ecology, place, and memory. Recent work is based on an adaptation of *The Simple Life*, a drama between mice, that takes the form of a digital video, book,  drawings, collage, and sculpture. Forthcoming from Archive Books (Berlin/Milan) is a book of selected and new writing in English and translated into Italian. Solo and group exhibitions include those at Mercer Union (Toronto), the Vancouver Art Gallery, Oakville Galleries, Walter Phillips Gallery (Banff), Damien and the Love Guru (Brussels), Unit 17 (Vancouver), and Galerie Anne Barrault (Paris). Tiziana was the national winner of the 2014 RBC Canadian Painting Competition.


Elisa Ferrari in collaboration with Jane Ellison, Megan Hepburn and Tiziana La Melia

all the things in the room

Maddie Leach

Kamala Todd

Join us for a roundtable discussion with artist Maddie Leach, and moderated by Kamala Todd, exploring *Lowering Simon Fraser* and themes of catalyzing public awareness and generating dialogue around commemorative monuments, and the complex implications of their continued presence in our current time.

### Biographies 

Maddie Leach was born in Auckland, New Zealand and is currently Senior Lecturer in Fine Arts at Valand Academy, University of Gothenburg, Sweden. She is also a doctoral candidate at Deakin University, Melbourne. Recent presentations of her work include *The Grief Prophesy*, Gothenburg International Biennial for Contemporary Art (2017); *The Blue Spring / Mata Air Murni*, Jakarta Biennale (2015)and *28th October 2834 for Spaced: Future Recall*,  Western Australian Museum, Perth (2015). Her project *If you find the good oil let us know* (2012-2014) was nominated for the Walters Prize 2014 at Auckland Art Gallery, New Zealand. *Lowering Simon Fraser* was selected via a peer-reviewed process for the 2019 Project Anywhere platform—a partnership between the Centre of Visual Art (University of Melbourne) and Parsons Fine Art (Parsons School of Design, The New School).

Kamala Todd is a Metis-Cree community planner who makes films and writes about the stories and cultures layered within the Indigenous lands upon which she is a grateful guest. Born and raised in the beautiful lands of the hən̓q̓əmin̓əm̓ and Skwxwú7mesh-speaking people (also known as Vancouver), she has a Masters degree in Geography (UBC) and an ever-growing list of documentary films and community arts projects. For six years she was the City of Vancouver’s Aboriginal Social Planner, and she continues to work with the City to help build relationships within the context of (re)conciliation. Kamala’s film credits include *Indigenous Plant Diva, Cedar and Bamboo* and *Sharing our Stories: the Vancouver Dialogues Project*. She writes and directs for children’s television, including the Indigenous science series *Coyote’s Crazy Smart Science Show* and the Cree language series *Nehiyawetan*, both on APTN. She completed a video series about Indigenous law for UVic’s Indigenous Law Research Unit. Her most recent published piece is entitled, “This Many-storied Land,” in the 2016 book, *In This Together: Fifteen Stories of Truth and Reconciliation*. Kamala lives with her partner and two sons on the Sunshine Coast.


A billboard stands high off the ground with a bridge on one side and shipping containers on the other. The billboard reads “Anyone Seen Simon?” in black text. 

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Anyone Seen Simon? with artist Maddie Leach and moderated by Kamala Todd

Public Roundtable Discussion

Patrick O’Neill

Justin Langlois

Contemporary Art Practices: Visual Arts Summer Intensive is a three-week full scholarship program for young artists aged 15 to 19. Hosted by [Arts Umbrella](https://www.artsumbrella.com/programs/art/scholarship-programs/visual-art-summer-intensive/) and the Contemporary Art Gallery, it is designed to introduce ways for participants to develop an art practice that critically engages with the world around them. *you do you*, the program’s culminating exhibition, responds to areas of interest raised during the intensive program.

Working with leading artists, curators and educators, students interrogated ideas surrounding self-care, wellness and capitalism in today’s society. Through workshops, studio critiques and discussions, they created work that considers questions such as:  Who is responsible for taking care of us and our communities? And what does it mean to take care of ourselves?

Organized by Danielle Green

Assisted by Emily Dundas Oke and Johanna Killas

### Participating Artists

Connie Kang

Anysia Kim

Clyde Kushner

Kayla Kwok

Grace Li

Lucy Pan

Lana Prigarina

Eli Shier

Lila Simchen

Amelia Vegt

Mikaela Wong

Catherine Xu

### Facilitating Artists

Patrick O’Neill and Jocelyn Sanchez

### Guest Artist

Justin Langlois



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Visual Arts Summer Intensive 2019

you do you

Maryam Jafri

Maryam Jafri joins Martha Rans, Arts Lawyer and Co-Founder and Director of Artists Legal Outreach in Vancouver, to discuss the meaning and significance of copyright issues as they surface in the visual arts. This event forms part of Artists’ Legal Outreach’s *Yours, Mine and Ours* series of conversations about copyright, made possible by the generosity of the City of Vancouver Cultural Services and CreativeBC with additional support provided by McMillan LLP, Vancouver.

### Biographies 

Maryam Jafri’s work has been the focus of recent solo exhibitions at Taxispalais Kunstahalle Tirol in Innsbruck (2019); ICA Los Angeles (2019); Van Abbemuseum, Eindoven (2016); Institute of Modern Art, Brisbane (2016) and Kunsthalle Basel (2015) and included in the Cleveland Triennial for Contemporary Art (2018); Sao Paulo Biennial (2016) and the Belgian Pavilion at the Venice Biennial (2015).

Martha Rans is a Vancouver-based lawyer specializing in the legal needs of non-profits, charities and digital creatives. She spent ten years as labour employment and human rights lawyer/mediator with the BC and Ontario governments. A recognized expert on the BC Societies Act, she has co-chaired the provincial Continuing Legal Education of BC Charities and Non Profit Law since 2014. Rans advises on charity law, incorporation, governance, privacy, employment, labour, health and safety, and human rights and advocates for public legal education and information. She is the Legal Director of the Pacific Legal Education Outreach Society and its associated resources Law For Nonprofits and Artists’ Legal Outreach, which provide thousands of British Columbia’s non-profit organizations and creators with advice, information and educational resources.

A photograph of a pair of prostheses feet placed on black fabric. 

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Maryam Jafri with Martha Rans: What’s Copyright Got to Do with It?

Stephanie Cyr

Katie Cassady

Livona Ellis

Christoph Von Riedemann

Over the course of four nights, the Contemporary Art Gallery brings together an evolving series of new dance compositions working with Katie Cassady, Stephanie Cyr, Livona Ellis and Christoph Von Riedemann. Developed with curatorial contribution from Andrew Bartee, each dancer will perform three out of the four nights, creating an unfolding set of different combinations of works each evening charting sequences of dialogue and exchange through movement across space and time.

Alongside these performances, a series of sketchbooks by architect Henry Hawthorn will be displayed in the Alvin Balkind Gallery. These journals are a visual diary of sorts, the result of many years of looking and thinking, and picture various buildings, structures and landscape that he encountered during the course of extensive travel worldwide. They map an evolving journey of cumulative experiences and interests, through a different consideration of time and place.

With his partner Jane Durante, Henry is a longtime supporter of CAG, in particular of our recent work, *Very Clear Instructions*, the ambitious commission between CAG and Ballet BC with artists John Wood and Paul Harrison which received its worldwide premiere in Vancouver in April 2018.

Henry sadly passed away last year. We dedicate this week of new dance compositions to his memory.

### Performance Schedule

June 25, 27 and 28
Katie Cassady with Matisse Maitland
*Hoping for transformation*

June 26, 27 and 28
Stephanie Cyr
*nothing new here*

June 25, 26 and 27
Livona Ellis
*1 00 1*

June 25, 26 and 28
Christoph Von Riedemann
*afront*

A photograph of a person in a black outfit performing in the gallery. The person stretches their arms on the floor and kneels on their right knee, stretching the other leg. 

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A white vitrine which contains five open sketchbooks showing images on buildings and landscapes.

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Katie Cassady, Stephanie Cyr, Livona Ellis & Christoph Von Riedemann

Performance

Patrick Cruz

Patrick Cruz creates an immersive sonic experience on the turntables, turning visual art audiences into listeners aboard his wrapped *How far do you travel?* bus as it tours through the city.

An image of the exterior of a transit bus that is wrapped in a patterned vinyl. The vinyl pattern is made up black pictographic imagery on a white background. 

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Patrick Cruz aboard the moving bus

Sound Performance 

Erdem Taşdelen

In this unique event, Erdem Taşdelen will preview a new and never-before-seen body of work through a series of short readings aboard his wrapped *How far do you travel?* bus as it tours through different neighbourhoods of the city.


A detail of Erdem Taşdelen's design. On a dark blue background, white lines draw mathematical graphs and shapes. 

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Erdem Taşdelen reads from The Characters aboard the moving bus

Reading 

Deanna Bowen

Join us for a special screening and discussion of Bowen’s edited cut of *~~On Trial~~ The Long Doorway*, co-commissioned by CAG and [Mercer Union](https://www.mercerunion.org/), Toronto, and produced with support from the [Western Front](https://westernfront.ca/).

*~~On Trial~~ The Long Doorway* focuses on a lost 1956 CBC teledrama titled *The Long Doorway*, in which Bowen’s great uncle Herman Risby played a supporting role, and tells the story of a Black legal aid lawyer tasked with representing a white University of Toronto student charged with the assault of a rising Black basketball player. The screening will be followed by a talk with Bowen, discussing familial connections and repressed histories and traumas of Black communities within Canada and the US.

A photograph of a script. Around the typed script, handwritten notes cover the margins of the paper. 

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Deanna Bowen: On Trial The Long Doorway

Screening and Discussion 

Rolande Souliere

In this sidewalk tour linking CAG, Yaletown-Roundhouse Station and the artist’s wrapped bus, Rolande Souliere speaks about the three interrelated projects comprising her solo exhibition and her contribution to *How far do you travel?*



Transcript_RolandeSouliereinConversationWithKimberlyPhillips.pdf

Exterior image of the Yaletown-Roundhouse station façade covered in a pattern of vinyl rhombus and triangle shapes. Each shape contains patterns of alternating red, white, black and yellow rhombuses. 

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Deanna Bowen contemplates the simultaneous hypervisibility and invisibility of Black bodies in the photographic archive, Vancouver’s particular performance of racism through class and how her own work might offer a counterpoint to established forms of representation in Vancouver and their role in the continued erasure of Black presence from the city’s historical narratives.

The talk will be followed by the [2019 Capture Photography Festival Launch](https://capturephotofest.com/events/2019-festival-launch/).

A black and white cast photo from a theatre play with a large group of smiling people standing and crouching in rows. The people appear to be in costume and positioned in front of the stage backdrop. 

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Deanna Bowen: Capture Speaker Series

Talk 

Kameelah Janan Rasheed

Kameelah Janan Rasheed returns to Vancouver for a weekend of informal collective learning sessions, the shape of which will be determined by participants themselves, propelled in part by a word, an image and a fragment of text pulled from Rasheed’s current explorations in archives, scores, and ecology.

We invite you to join one or both discussions.

### Biography 

Kameelah Janan Rasheed (b.1985) is a Brooklyn-based interdisciplinary artist, writer, and former public high school teacher from East Palo Alto, California. Rasheed’s work has been presented at the 2017 Venice Biennale, New Museum of Contemporary Art, The Kitchen, Portland Institute of Contemporary Art, Institute of Contemporary Art Philadelphia, Printed Matter, Jack Shainman Gallery, Studio Museum in Harlem, Bronx Museum, Queens Museum, Schomburg Center for Research in Black Culture, Brooklyn Academy of Music, Pinchuk Art Centre, and others. Shortlisted for the Future Generation Art Prize in 2017, she is the recipient of several other awards and honors including the Denniston Hill Artist Residency (2017), The Laundromat Project Alumni Award for Art in Community (2017), Harpo Foundation Grant (2016), Magnum Foundation Grant (2016), Creative Exchange Lab at the Portland Institute of Contemporary Art Residency (2016), and Queens Museum Jerome Emerging Artist Fellowship (2015). Rasheed is the founder of *Mapping the Spirit*, a digital archive that documents the textures and nuance of Black religious experience in the United States through long-form interviews, photography, video and ephemera. She is the author of a forthcoming artist book published by Printed Matter as well as *An Alphabetical Accumulation of Approximate Observations* forthcoming from Endless Editions. Rasheed’s other writing has been published in Triple Canopy, Creative Time Reports, The New Inquiry, and Frieze, among others. Rasheed is on the faculty of the MFA Fine Arts program at the School of Visual Arts and also works full-time as a social studies curriculum developer for New York public schools. In 2018 and 2019 she will be an artist-in-residence at Pioneer Works as well as Triangle Arts.


Two ground level façade windows at CAG. They each have a pink backdrop and black and white text-based vinyl prints that read “Kind Killings,” “Regressive Rights” and “Homicidal Hemiline.” 

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Workshop

A New Path to the Waterfall

Gabi Dao

Harrell Fletcher

Join CAG and artists at Lord Strathcona Elementary for the launch of the limited-edition volume *A New Path to the Waterfall*, celebrating the year-long collaborative art project between local artists and students from MaryAnn Persoon’s 2017-18 grade 6/7 class. A special screening of an experimental film created by this year’s class with artist Gabi Dao will accompany the launch.

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Publication Launch

Diyan Achjadi

In this unique artist talk, *How far do you travel?* exhibiting artist Diyan Achjadi will speak about the concerns that propel her practice aboard her wrapped bus as it tours through the city.




A graphic pattern made up of a purple, blue and green geometric background with various illustrations of buildings, swirling clouds, imaginary birds and plants superimposed on top.

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Anne Low

Join exhibiting artist Anne Low and CAG Curator Kimberly Phillips as they discuss Low’s “wanton” approach to historical material, her process of extraction, translation and invention, and the literary sources that helped inspire *Chair for a woman*.

A detail of an embroidery sun with a grinning face.

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Aslan Gaisumov

Aslan Gaisumov joins us for an informal conversation with CAG Curator Kimberly Phillips discussing broader concerns underpinning his exhibition and artistic practice.

A wooden frame hangs on a blue-grey wall. Mounted in the frame is a page from a book. The title of the page reads “War Memories.” The rest of the page is redacted, excluding one word, “war.” 