OCA exhibition explores the body-landscape connection through female eyes | News, Sports, Jobs


Chelsea Call’s “Muley Memory 1” will be exhibited as part of “LAND BODY” presented by Ogden Contemporary Arts from December 10 to February 20.

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This still from the video shows a scene from “Wasl” by Sama Alshaibi, which is part of “LAND BODY” presented by Ogden Contemporary Arts from December 10 to February 20.

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Al Denyer’s “Ridgeline” will be exhibited as part of “LAND BODY” presented by Ogden Contemporary Arts from December 10 to February 20.

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Jill O’Bryan’s “Desert Frottage” will be exhibited as part of “LAND BODY” presented by Ogden Contemporary Arts from December 10 to February 20.

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Jaclyn Wright’s “Untitled” will be exhibited as part of “LAND BODY” presented by Ogden Contemporary Arts from December 10 to February 20.

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The new winter exhibition at the OCA, “LAND BODY”, opens its doors on Friday December 10, 2021 from 5 pm to 8 pm

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“LAND BODY” is a new winter exhibition at Ogden Contemporary Arts that explores the connections between the human body and its landscapes from the perspective of 11 artists who identify women.

This is the first curating project at OCA for Kelly Carper, a freelance art consultant, curator and art writer currently based in Ogden. The OCA Center is a vast space to fill, but Carper has brought together the concept and artists of “LAND BODY” with ease over the past two months, an incredibly short time for a vibrant group art show.

The works on display are woven with themes such as environmental and climate issues, female identity, human impact on nature and more, with an emphasis on desert environments by artists from Utah, New Mexico and Arizona in a variety of mediums. Carper said working with a non-profit organization like OCA was a wonderful experience that enabled him to bring in artists from out of state for the project.

Carper’s idea for the “LAND BODY” concept was sparked by the multimedia installation “Battleground” by Utah artist Wendy Wischer, which will be shown for the first time at this exhibition. In the large body of work, Wischer compares land ownership and management, as well as the politics within property, around women’s bodies.

“Body and landscape have been relatively explored throughout art history, especially with feminine overtones and from the perspective of male artists,” Carper said in a press release. “’LAND BODY’ is a contemporary exploration of this inherent relationship featuring women artists from diverse cultural backgrounds. The exhibition makes metaphorical and physical connections between desert landscapes and women’s bodies, while reflecting extensively on the interdependence between humans and the natural world.

Carper added a comment to his concept for “LAND BODY”, based in part on the idea that the body-landscape connection has been explored throughout art history, primarily from a male perspective, from “the life-giving imagery of the naked Mother Earth lying in the garden during the Renaissance and the land art movement in the 1970s,” citing the Utah Spiral Jetty as an example of masculine bravado and strength expressed in through art. “But women artists were also important to this movement,” she said.

All of the works on display respond to the landscape from a female perspective and from various cultural lineages. Some bring the body directly, Carper said, while others use it as a metaphor or in the process of making the work. Jill O’Bryan’s “Desert Frottage”, for example, traces her body’s interactions with the desert in large-scale drawings. The photographs on display by Chelsea Call capture her immersive experience in the Bears Ears National Monument, and the paintings by Brazilian-born artist Josie Bell connect human emotion to the landscape using natural materials “to represent the beauty of the earth as well as its scars, often through abstract figurative forms “. These artists connected directly with the natural world in the process of creating their works.

Others are cultural history stories told through photography and film. Nikesha Breeze addresses the African diaspora in her on-display film piece “Stages of Tectonic Blackness” which “points to the parallel processes of dehumanization and extraction, emergence and rebellion, as supported by black bodies and men. rocky bodies ”. Native American photographer Cara Romero, an artist based in Sante Fe, translates in her images the hypersexualization of Native women in the history of photography and the environmental destruction of Native lands.

The desert landscapes of the Middle East and North Africa region are depicted in Sama Alshaibi’s video piece “Wasl (Union)” which highlights “connections between cultures threatened by displacement due to scarcity. rising water and rising sea levels ”. Galician filmmakers Sonia and Miriam Albert-Sobrino, known together as Also Sisters, present an immersive digital installation hosted in the galleries on the second floor of the OCA that uses “dreamy and disorienting” images of the female body moving around. through changing landscapes.

Utah-based artist Jaclyn Wright also explores the exploitation of land and the female body through her photographic work, while Al Denyer, another Utah-based artist from England, exhibits her work in a new medium for her using thread and thread to bring attention to traditionally feminine arts and crafts and classic ideas of femininity in art and its relationship to landscape.

In addition to the multimedia installation “Battlegrounds” which inspired “LAND BODY”, Wischer also brings to the exhibition “Shattered”, a large sculpture on the ground on the ground floor of the gallery in the form of a tree. smashed in mirror. “You literally see your body reflected through a tree,” Carper said. “As soon as you enter the space, you see yourself in the exhibit.”

This is just one of many interactive and engaging installations that Carper hopes visitors will immerse themselves in – and “being more integrated with nature and raising awareness of the interconnectedness of our body and the earth” will be the point. to remember.

“LAND BODY” Presented by Ogden Contemporary Arts is a free exhibit made possible by Weber County RAMP, the Utah Tourism Board, the Utah Legislature, and the Utah Arts and Museums Division. It opens to the public at the OCA Center, 455 25th St. in Ogden, on December 10 and will run until February 20, 2022.

For more information visit ogdencontemporaryarts.org.


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