Summer 2019 Open Call: Movement
“Falling is one of the ways of moving.” ― Merce Cunningham
Modern dance pioneer Merce Cunningham has regarded movement as a force of life and a metaphor for the human condition. The human body is continually moving in time-space, a constant in life. We can also view movement as an enforcer of change through the motion of our bodies, passage of time, or the methods of our creative experiences.
In Open Call: Movement, we are seeking images that examine movement as an expression of the human condition. If movement is viewed as a singular language, what is it telling its audience?
We encourage all types of lens-based artwork for this open call, including but not limited to documentary, experimental images, and portraiture.
Judy K Suh
Rebecca Maria Goldschmidt
Bodied #3 (2019): Composite self-portrait from "Bodied" self-portrait series. Created in response to Free Write Arts & Literacy student, Dejuanye's poem "Body," created in response to Yusef Kommunyakaa's poem "The Body Remembers." This image relates to the theme because it documents the repetitive movement of the body over time using a slow shutter speed, and a composite technique.
Make it Fashion (2018): Mister Wallace photographed for Sixty Inches from Center. This image relates to the theme because because it shows the movement of the body and the removal of clothing through across the three images. There is also visible movement in the clothing from the wind.
Communing #2 (2019): Self-portrait in Joshua Tree state park. This image relates to the theme because it shows the movement of a body in an alien landscape. The use of a slow shutter speed provides motion and blur in the image against a still landscape of bulbous rocks.
PRIDE (2018): Fern photographed for The Look Authority in front of the historic 79th Street Pride cleaners. This image relates to the them because it captures a dramatic movement in a single shot. You can see Fern leg rise up an imagine how it is about to come down through this momentary captured gesture.
Say it again (2019): Al. Styled by Sasha Hodges. Al's swift movement around a pole is distilled to a single moment. Her vest becomes a cape as it flies away from her spinning body.
Bio: Chelsea Ross is a cross-disciplinary curator, photographer, writer, film-maker, and educator. Her photography practice focuses on portraiture, self-portraiture, and surreal still life as a means of inserting and understanding agency, identity, and existence in the physical, political, and spiritual body. As a curator, her practice engages with questions and methods of collaboration, community- and culture-building through art making, and all modes of liberation.
Judy K Suh
Statement: Dancing Human stills is a part of my ongoing exploration of the construction and deconstruction of the moving image. Drawing inspiration from Edward Muybridge's photographic study of motion, the piece breaks down a dancer's movement into a series of still images created from shooting on Super 8mm film. The film roll was then digitally scanned in their entirety as still images with multiple images and sprockets within, carrying with it the imperfections of the analog format--- dust, scratches, light leaks. Each image captures a still moment of the dance, but juxtaposed together, we connect them in our minds and see the motion continued.
Bio: Judy K Suh is a filmmaker and artist based in Chicago. She was raised in S. Korea during part of her childhood and earned a B.A. in Film and Fine Art from Northwestern University. She attended artist residencies in France, Finland and Canada, where she developed projection-mapping work. Her film and video installation works have been shown around the world in film festivals, multimedia festivals and exhibitions. She works at the cross section of film, fine art and design.
A body is a burial site
Opened up at the mouthーwomb of water.
The body searches the boundaries and finds that, like its blood,
The border is hard to locate,
And there are many.
The brain tries to find life in the belly, or in the chest, because
The beating is convincing and because
it resounds the way sound travels
The body calls back
and there is an echo.
A womb is no place for a dead body.
The sky is
Covered up in numbers until
We cannot see the blue anymore.
See this? This freckle?
A body on my body,
A space making place
In collection of pigmentー
An identity saturated in brown.
My father’s voice outside of bone structure,
To the left,
Hard stop for ancestral burial
At the neck of the Ko’olaus.
Tutu? My brown sings for you,
Sing back to me across baby burials, by the water spigot,
where the woman in the valley watches.
Did I get my freckles from you? My moles?
The ones that migrate up and over the ocean
Curves of my knuckles?
Capitalize the B for body because this flesh is Place,
A noun worthy of the bigger letter so that
We may call to her and see her as
But do not capitalize the M for me,
There is no monetary profit here.
The thumb weighs no more and no less
Than the levels of rising water
And a finger cannot be milked for blood.
Yet they thirst after her,
Climbing her to find water in the stars.
A Body is a burial site
Where breath has not been taken,
But has been given.
Our bodies will continue to visit us,
Swaying toward us,
Until they become more than a site for
blood deaths and Body survivals.
If you listen closely
You can hear her breathing.
Poem by Marley Aiu
Rebecca Maria Goldschmidt & Marley Aiu
Statement: These images were made in collaboration on the mountain of Mauna a Wākea on Hawai’i Island, where bodies are currently gathered to defend a sacred space from the construction of an enormous telescope. The movement of the fog, the clouds, the nene goose, the stars across the sky, remind us of the ever-changing forces that represent our relationships to the land that are in immediate and constant danger. While the camera struggles to trace the moving body in the dark, during the day the movement of a people is clear, photographable, capturable, Kanaka Maoli rising to protect their rights to land, water, and spirituality. These are the images that are shareable, likable, move quickly across screens and the globe. But at night, while the protectors of the mauna rest in their cars or in their tents, the threat of a police raid or of the National Guard knocking on the fogged-out window is staid by the movement of a dancer, a single body in motion, of spirit. If this body is the mauna, this place is our body.
Bios: Rebecca Maria Goldschmidt engages in place-based art-making and learning. Her current work reflects on studies and reclamation of the Ilokano language and her attempts to reconstruct connections with the land and cosmologies of her ancestors. Through found and created images, she explores how relationships to land/daga/'āina manifest in diasporic communities. Crossing into the realm of social practice, she often works in collaboration to facilitate the exchange of knowledge intergenerationally and interculturally. She is currently an MFA candidate in the Department of Art and Art History at the University of Hawai’i at Mānoa in Honolulu.
Marley Aiu exercises art-making in various mediums to both educate and empower local and global communities. As a queer, multi-ethnic artist and performer, their current work prompts the exploration of identity in body and place through the examination of past, present, and future ideologies, systems, and platforms. Marley is especially interested in using the body both as an instrument for creative work and as a provider of mediums and tools. Marley is a BFA student double majoring in Dance Performance and English with honors at the University of Hawai’i at Mānoa and hopes to continue into both fields post-graduation.