TRAIL MAGIQUE is a phenomenon which expresses itself on long-distance pilgrimages during moments of synchronicity or good fortune. In the gross realm: Trail Angels, altruistic trail guardians, offer Trail Magic to pilgrims in the form of consumables (food, medicine, alcohol) or services (rides, beds, showers) throughout their journey.
Greber’s immersive exhibition at May gallery reflects an interest in—or desire to bypass—lengthy spiritual or literal pilgrimages as a catalyst for inner growth or easy satisfaction. Dave’s exhibition at May will conflate the common human desires—which are at odds with one another—of inner growth and immediate gratification. His recent completion, and occasional yellow blazing of the Appalachian Trail has lead him to study and employ traditional labyrinth forms in juxtaposition with pop-culture’s dimensionless, ephemeral, but immediate trappings of satisfaction.
My work identifies spiritual meaning within our contemporary society by applying mystic readings to popular capitalist communications and their folk reverberations. Currently, I am fascinated with pilgrimages as a universal human impulse and how they are manifested in our culture. From March, through October of 2015, my wife and I hiked the Appalachian Trail, walking 2,200* miles from Georgia to Maine, setting the stage for what will be my installation at May gallery & residency. My vision is that the exhibition will create a cohesive new strategy for spiritually metabolizing our contemporary society. – Dave Greber
*give or take
Stephen Tremaine is a native of Louisiana and an alum of the New Orleans Center for Creative Arts. Stephen is founder and director of the Bard Early College in New Orleans, a tuition-free satellite campus of Bard College embedded within the New Orleans public school system. BECNO offers young people across New Orleans a home for intellectual ambition, critical inquiry, and the pleasure of asking big questions. Stephen also serves as Bard College’s Vice President for Early College Programs, working across a national network of intensive programs in the liberal arts for young people in public high schools. In this spirit, Stephen is interested in what happens when the institutions that aim to push boundaries of new thinking (colleges, art spaces, theater groups) work alongside the public schools charged with preparing young people to be citizens.
Christopher Alfieri came to New Orleans from New York in 1994 and enrolled in the Loyola University Law School where he obtained his J.D. degree in 1999. Chris is a Partner in the New Orleans law firm of Christovich & Kearney, LLP. He practices in the areas of general and commercial defense litigation and in the area of art law, counseling artists, collectors, dealers, arts organizations, institutions, museums and non-profit corporations in Louisiana and elsewhere on a variety of legal matters involving governance, art commerce, artist rights, resale rights and restitution and repatriation.
Chris is a dual U.S. / Italian citizen and currently serves as Legale di Fiducia (general legal counsel) to the Italian General Consulate in Houston, Texas. His work with the Italian Consulate engages him in a wide array of matters involving Italian nationals and corporations operating in the United States.
Chris is a founding Executive Board Member, Officer and General Counsel of U.S. Biennial, Inc., the non-profit entity which produces the Prospect New Orleans Triennial series.
Chris is the current President of the New Orleans Chapter of the Federal Bar Association 2014/15, the largest FBA chapter in the U.S., established in 1937.
Dave Greber was born in Philadelphia in 1982. He studied at the Middle Bucks Institute for Technology, Temple University, Universiteit van Amsterdam, and Tulane University. After a stint as a filmmaker / freelance commercial video producer, he found his calling in the contemporary art resurgence of post-Katrina New Orleans, creating video loops and site-specific multimedia installations. His installations have been featured in museums: Prospect 1.5, The Ogden Museum of Southern Art, the Contemporary Arts Center, New Orleans; commercial galleries, Arthur Roger Gallery in New Orleans, C24 Gallery in NYC; and International Media Festivals. His work has been covered by Art in America, Rhizome, Artforum, Artvoices, Hyperallergic, DailyServing, Pelican Bomb, Oxford American, and others.
“100 Drawings” is a 100 page zine capturing MOMO’s sketching explorations which were originally drawn in two fifty page notebooks. Limited print run of 200 copies.
The books are available for purchase on Paypal for $40.
Each sketch is available for sale as an original framed drawing on Paypal for $125.
Bob Snead is a native of Charleston, SC where he graduated Cum Laude in 2002 from the College of Charleston with a BA in Studio Art. Soon after with a group of fellow grads, he formed Redux Contemporary Art Center in Charleston and remained founding director of the organization until 2005 when he left to pursue graduate studies at Yale University School of Art. After receiving his MFA in painting and printmaking in 2007, he helped form the traveling artist collective Transit Antenna and spent the next two years developing community based art projects all over North America. He has exhibited with Jack Tilton Gallery and Deitch Projects in New York, and his work can be seen in New Orleans at the Ogden Museum and Jonathan Ferrara Gallery. In 2011 he was named a distinguished alumnus of the College of Charleston for his extensive work with non-profit arts organizations, and he is currently a board member of the New Orleans literary and visual arts organization, Press Street, as well as an organizing member of Antenna gallery.
The work of Nicolas Sassoon makes use of various computer-based aesthetics to generate fantasized visions of architectures, landscapes and domestic environments. While most of Sassoon’ s work is published online through the format of animated gifs, the artists has in collaboration with other artists, architects, curators, music producers, and fashion designers, materialized this web-based practice in a diverse range of mediums such as sculpture, prints, textiles, and site-specific installations. Sassoon’ s work often explores the material application of immaterial concepts, through a practice that investigates the manner in which virtual spaces and thinking can (or cannot) be inscribed within the physical realm.
Nicolas is a member of the online collective Computers Club. Nicolas has shown in various international venues and events such as the Miami Art Fair (US), the Tokyo Art Fair (JP), Today Art Museum (CN), Portland Art Museum (US), Cincinnati Art Museum (US), 319 Scholes (US), Eyebeam (US), Every Letter in the Alphabet (CA), Charles H.Scott Gallery (CA), Western Front (CA), TINBOX Contemporary Art Gallery (FR), LMD Galerie (FR), the Berlin Fashion Week (DE), and MU Eindhoven (NL). Nicolas lives and works in Vancouver BC, Canada.
Born in San Francisco, MOMO has travelled most of his life, lived in New York for six years and currently keeps a studio in New Orleans. He has collaborated with Marie Lorenz, Melissa Brown, Piet Dieleman, Eltono, and Yohji Yamamoto. In 2008 Rojo published his first monograph “3AM-6AM”, in 2012 Studio Cromie published his second, “In 74 Pieces”. In 2009 Y-3/Adidas produced the “MOMO” shoe after a collaborative F/W Y-3 show on a 5000 sq ft catwalk mural. Arts residency The Studios of Key West hosted his “Public Art in Private Spaces” project in Key West, Florida in 2010. In 2011 the Fountainhead Residency in Miami hosted production of his “Miami Paintings” series.
Alli Miller (b. 1985, New York) is an artist and designer working between Brooklyn and New Orleans. Alli’s work is premised on the investigation of liminal moments to underscore the psychosexual and relational aspects of display and consumerism. As material, she utilizes voices and powers surrounding the artwork: for example, the pedestal, the ad space, the archive. In the ritual of her practice, she invents and draws upon systems of mythology to contextualize production, while employing the faculty of humor to compose material slippage. Alli received a BFA from Cooper Union in 2008 and studied with visiting artist Marjetica Potrč at the Fondazione Antonio Ratti (Como, Italy) in 2006.
Trey Burns (b. 1984, Goldsboro, NC) received an MFA in Painting & New Media from Savannah College of Art & Design in 2008. Interested in reportage and documentation, his work has explored concepts of Americana through video and photography. Trey’s work has been exhibited internationally and is currently working on several multi-media collaborations.
Derek Larson is from Seattle and received his MFA from the Yale School of Art and has exhibited in the US and internationally, recently he presented his Memes project at the Finnish Museum of Photography in Helsinki. He has participated in a number of residencies including the Yale Norfolk Program and Arteles in Finland. His work has been featured in the Seattle Times, NY Arts Magazine and Rhizome @ The New Museum in New York.
Thomas Grill is a Vienna-based media artist and researcher of sound, with particular focus on electroacoustic performance.
Grill’s works range from interactive audiovisual installations to instrumental compositions and improvisations. Grill studied technical physics in Linz, as well as computer music and electronic media in Vienna and Graz and then received his doctorate in composition and music theory at the University for Music and Performing Arts, Graz. He currently develops open-source media software and is a Postdoc researcher at the Austrian Research Institute for Artificial Intelligence (OFAI).
Lotte Geeven (1980) is a multi-media artist from Amsterdam creating tailor-made portraits of sovereign places. These simple portraits with a graphical character aim to envelope the magic of autonomy and explore complex matter & power beyond our control related to a specific place. For example The sound of the earth – a sound recording from the deepest open hole in the planet- is a portrait of the abstract deep earth. Or the work Sovereign – an upside down Jaguar spinning on it’s back in slow motion in an empty parking lot- is an exploration of the ambiguous character of this sovereign location.
Susan Bowers described her art as, ‘a monkey on her back.’ Her background is in art history, painting and printmaking. While getting an art history degree at Tulane University, New Orleans, Louisiana in the 1990’s she started taking ceramic classes. She taught Art History at Tulane and Xavier University before becoming interested in computer art. She worked in computer graphics and animation for sometime before losing interest. She resumed working in ceramics 7 years ago and has renewed her passion for the primordial medium.
Clark Gordon Allen is an artist hailing from the California Bay Area, transplanted to New Orleans in 2011. He works pseudonymously under the name Sink Stuart- a matter indebted entirely to the fact that his proper name presented in any order remains utterly “un-googleable” and that this loathe adjective, a phonetic baby word, commands an awkward modern precedence. His photography and illustrations, generally focus on modern American convenience, sloth, and tendencies toward low moral altitude, blending misanthropy with the absurd. His work has been published in The SF Bay Guardian, The Stranger, and Maximum Rock n Roll, has been exhibited in San Francisco, Seattle, and New York City, and he has fallen into the ever expanding group of artists who have had their designs appropriated by Urban Outfitters.
This past year at May brought some very exciting headway. It is because of your dedicated support that May was able to make such amazing progress. May presented the work of artist Tameka Norris as an official venue for Prospect 3. For May, becoming an official venue for Prospect 3 was a goal among many which served as motivation to achieve many smaller, but very important foundation-building goals.
Since 2012, May has produced nine solo exhibitions. All of which have established May as a unique space for experiencing contemporary art as distinctly intended by its artists. May has been setting a standard for the production and exhibition of contemporary art within a non-institutional, multi-sensory spacial envelope. May does not set forth standards of presentation or architectural rules which are replicated from exhibition to exhibition. We deliberately make this choice because we believe that the branding, aesthetics and intent of the institution are a distraction from the artist’s intent—we want the art to speak for it self. Concurrently, our publications bring transparency to the artist’s intent and process. However, we don’t impose interpretations on our audience. An artist could deliberately choose to use an institutional aesthetic in their installation, but that choice is a pre-rationalized one—it is a choice that precedes the physical production of their desired art experience. In architecture, the practice rests upon two principal constraints: the creative intent of the architect and the programmatic, functional needs of the client within their chosen site. Reflected within the framework of the institution of contemporary art, the role of the institution should be to provide the artist with the tools necessary to fulfil both the creative intent, and the functional needs within the given space. The curator should simply assist the artist in deliberate art place-making, versus only providing a place to hang artwork, or a pedestal to place sculpture—though, the latter could be a deliberate need of the artist’s intent!
The white-box model of art presentation was one which represented creative freedom from the institutionalized art museum codes of conduct; it was thus a continuous clean slate for new art, media and ideas. But for too many, the white-box now also embodies sentiments of exclusivity, and it now unavoidably has self constructed artist codes of conduct. As art presenters we can no longer afford to use exclusivity as a tool to elevate the value of contemporary artwork; that approach is dysfunctional. The intent and products of our contemporary artists must be made more accessible and conceptually unencumbered if we truly hope to convey our artist’s ideals. We need to elevate contemporary art to a position in society where it is a legitimate player in the evolution of our global culture, where the current, long standing owner of that title is pop-culture.
I look forward to your committed support and please visit us soon!
As an program integral to the mission of May gallery & residency, May books publishes books, zines and other printed matters which bring transparency to the concepts and fabrication processes of artwork produced and shown at May gallery. Formerly also a bookshop project incubated by May, which is now called The Stacks, May books will continue to provide educational materials to help make art more accessible to a broader audience.
As a part of May’s residency program, we preserve the resident-artist’s creative intent by documenting the dialogue between the resident-artist, community members, curator and preparator, as well as the creation of the exhibitions at May.
May books prints its publications primarily in-house on our high speed risograph duplicator, donated by RISO, inc. This helps to keep printing costs minimal and our publications affordable. We also print through either local offset printers and Blurb.com, depending on the needs of the project.