Artist/Adiunct LecturerLocation:Institution: St. Francis CollegeTerm: [object Object] - Present
Queens College- CUNY
I roll a Whole Foods cart jammed with art supplies, a folding chair and drawing pads throughout NYC to document in plein air drawings (and more recently paintings on canvases and linen panels strung with bungee cords onto a hand cart) extant public figurative statuary for my art series, the Anna Pierrepont Series. These images are then combined with words that explore the traumatic and often violent erasure of collective and personal memories that arise in both the installation and increasingly the removals of public statues. Unsurprisingly, the Anna Pierrepont Series is being caught up in the rising tide of the evictions of objects and the backlash to the evictions since the rise to power of the current American president, particularly in the aftermath of Charlottesville Virginia during the summer of 2017. The pictorial essays are being published worldwide in popular, literary and academic publications, in addition to being exhibited in academic and other public exhibition spaces on the East Coast. Th e series’ central purpose is to interrogate how groups come to ‘speak through the city’ by additions of artworks to public places and how this power can shift between groups thus marooning the objects that speak for the past in the present with oft en unhappy consequences, including evictions and violence relating to evictions. I encourage viewers to recognize the dissonance between statements of identity earlier epochs interject permanently into the always dynamic present in marble and bronze shaped with artists’ hand as the present increasingly views these objects as not representative of the past’s ideals but rather its biases that saddle the present with the persistence of injustice. The images are plein air appropriation, coming into being through visual encounters with the objects transformed by dynamic changes in light and color in things ideally encountered out of door and that have originally been created by other artists. I have named the entire project aft er Anna Marie Pierrepont, a grand dame of 19th century Brooklyn interred in one of the most magnifi cent tombs in Green-Wood Cemetery in walking distance from my home in Brooklyn, New York. I named the series after Anna, because I recognized in her strident eff orts to maintain her memory and the ultimate failure of that effort, recalling the hapless Ozymandias and his trunkless legs of stone in the vast desert of Shelley’s poem..