{"id":160,"date":"2021-10-18T15:16:21","date_gmt":"2021-10-18T20:16:21","guid":{"rendered":"https:\/\/exhibitions.lib.udel.edu\/here-now\/?page_id=160"},"modified":"2024-07-31T12:24:48","modified_gmt":"2024-07-31T17:24:48","slug":"small-side-gallery","status":"publish","type":"page","link":"https:\/\/exhibitions.lib.udel.edu\/here-now\/60-2\/small-side-gallery\/","title":{"rendered":"Small Side Gallery"},"content":{"rendered":"\n
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William Deering<\/strong><\/p>\n\n\n

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Behind The Wall<\/strong>
2019
Photographic Chromogenic Prints
Courtesy the artist<\/em><\/p>\n\n\n\n

These serene images present details of headstones in the P\u00e8re Lachaise and Montparnasse cemeteries in Paris. Photographer William Deering discovered the details, which he considers to be found images, in the cemeteries while seeking solace behind their walls in periods after the deaths of his father, mother, and several friends. In earthy shades of green, grey, brown, and blue, delicate materials like dirt, moss, and flowers appear to hover in the images as if suspended in an eternal stillness. The images invite contemplation on the history of their sites: centuries-old cemeteries, the ageless ground in which the bodies lay as the world above turns above them, unaware. For Deering, the cemeteries are \u201cnot just a burial ground for departing souls, they\u2019re a resting place for the living.\u201d Made prior to the 2020 COVID-19 outbreak, the images may take on new meanings in this context with a heightened public awareness of mortality.<\/p>\n\n\n\n

Bill Deering | Photography<\/a><\/p>\n\n\n\n

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Jon Cox<\/strong><\/p>\n\n\n

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left to right<\/em><\/p>\n\n\n\n

Jon Cox and Andrew Bale
Jorge<\/strong>
2015
Metallic print
Courtesy the artists <\/em><\/p>\n\n\n\n

From: The Ese\u2019Eja People of the Amazon: Connected by a Thread<\/a><\/em>
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Jon Cox and Andrew Bale
Claire<\/strong>
2019
Metallic print
Courtesy the artists <\/em><\/p>\n\n\n\n

From: ARRIVALS: What\u2019s Left Behind, What Lies Ahead\u00a0<\/a><\/em>
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Jon Cox, Briana Henry and Sierra Watkins 
Amber<\/strong>
2018
Metallic print
Courtesy the artists <\/em><\/p>\n\n\n\n

From: Women of Consequence <\/a>\u00a0<\/em>
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Jon Cox
Alyssa<\/strong>
2020
Metallic print
Courtesy the artist <\/em><\/p>\n\n\n\n

From: Cultural and Environmental Restoration: Lenape Tribe of Delaware<\/a><\/em>
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Jon Cox
Endecko<\/strong>
2020
Metallic print
Courtesy the artist <\/em><\/p>\n\n\n\n

From: Hadza: The Roots of Equality<\/a><\/em>
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Robyn Phillips-Pendleton<\/strong><\/p>\n\n\n

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left to right<\/em><\/p>\n\n\n\n

Bodies and Souls, no. 2<\/strong>
2020
Charcoal on Stonehenge paper<\/p>\n\n\n\n

In Bodies and Souls, no. 2<\/em>, as in Bodies and Souls, no. 1<\/em> (nearby), Phillips-Pendleton creates a swirling composition of interweaving figurative and abstract elements that evokes a dreamlike state. Potent symbols hide within and emerge from a holistic field that functions like a collective (un)consciousness. The artist\u2019s interests in the historical transmission of images and the functions of images and symbols in constructing individual and cultural identities inform her compositional approach. What results is a layered investigation of Black identity, slavery, the south, and the myths and truths of American history and society.<\/p>\n\n\n\n

Bodies and Souls, no. 1<\/strong>
2020
Charcoal on Stonehenge paper<\/p>\n\n\n\n

Bodies and Souls, no. 1<\/em> and Bodies and Souls, no. 2<\/em> (nearby) present visual meditations on race and violence against Black bodies in historical and contemporary contexts. Although the two drawings do not depend on one another compositionally and can be separated, Robyn Phillips-Pendleton conceived and created them together. The subject matters address the history of lynching alongside contemporary assaults on the Black body by police and by the COVID-19 virus, which has disproportionately ravaged Black and Brown communities due to inequalities resulting from systemic racism. <\/p>\n\n\n\n

Robyn Phillips-Pendleton website<\/a><\/p>\n\n\n\n

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The 181 <\/strong><\/p>\n\n\n

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Nautical Twilight<\/strong>
2020
A map-thing, an anchor-thing, and a buoy-thing
Dimensions variable
Courtesy the artists<\/em><\/p>\n\n\n\n

Nautical Twilight: the time when the center of the sun is twelve degrees below the horizon and only general or vague outlines of objects are visible. During the evening this is when it becomes too difficult to perceive the horizon, and in the morning this is the moment when the horizon becomes distinguishable. <\/em><\/p>\n\n\n\n

Artist collective The 181 invites others to join them in contemplating the definition of Nautical Twilight provided by the U.S. National Weather Service. At various times throughout the exhibition, as coordinated by The 181, six-foot diameter circles located within and outside of the gallery space will be occupied by an invited guest. Each guest will bring a \u201cmap-thing,\u201d an \u201canchor-thing,\u201d and a \u201cbuoy-thing\u201d of their choosing to facilitate their public-facing interpretations of nautical twilight.  <\/p>\n\n\n\n

The 181 is Brandon Boan, Abigail Donovan, Tom Hughes, and Jason Rhodes. Deliberately working outside of commercial art contexts, the collective stages \u201csituational compositions,\u201d or participatory events involving humans, materials, and objects. Their interests include examinations of information transmissions and processing, often through collaborations that foster what they call an \u201caesthetic of trust.\u201d <\/p>\n\n\n\n

Activations of \u201cNautical Twilight\u201d will occur from time to time throughout the duration of the exhibition.<\/em><\/p>\n\n\n\n

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