Apartment galleries have a special place in our heart. Norte Maar’s apartment gallery at the corner of Wyckoff Avenue and Suydam Street in Bushwick, served not only as the foundation of our visual art program but also a historic role in the development of the Bushwick art scene from 2006-2016. Alternative art spaces play a vital role in facilitating conversation, building community, and inspiring creative collaborations. Artist Lynn Sullivan hosts regular pop-up exhibitions in her studio and home.
All posts tagged Audra Wolowiec
Norte Maar is pleased to announce the organization’s first print edition commission by Audra Wolowiec. “sound series” includes four prints remastered from their original collage printed by Furthermore, Brooklyn, and published in an edition of 25 (four prints per edition).
Long Island City, NY–In conjunction with Socrates Sculpture Park’s annual celebration of the Summer Solstice on June 21, Socrates Sculpture Park collaborates with Norte Maar to present SOUND EVENT an evening of site-specific sound performances at Socrates Sculpture Park. For this event, which will encompass the entire park, noted sound artists will create unique sound platforms through traditional instrumentation, amplification of objects, juxtaposition of voices, and experimental electronic sound.
Cage Transmitted Series Returns to Dumbo Arts Center: November 2012
Norte Maar and Experiments in Art and Technology once again pairs up with Dumbo Arts Center to present three exciting Cage Transmitted Events in November. All events will take place at 7pm at Dumbo Arts Center (111 Front Street, Brooklyn). All events are free. Seating is on a first come first serve basis.
It is hard to believe that Norte Maar’s original ballet The Brodmann Areas has finished its final run at the Center For Performance Research. With a cross-genre, multi-media collaborative approach to developing the original ballet – and its accompanying visual and audio components – the countdown to opening was highlighted in the advance press:
Bushwick Daily featured a preview that included a conversation with choreographer Julia Gleich, which can be found here. Joined by director Jason Andrew, as well as the Brodmann‘s crew of dancers, Gleich also spoke with WNYU’s CityWide arts and culture program. CityWide stopped by during the last day of rehearsal to get the details on what host Lucas Green calls “a particularly visceral collaborative product.” For audio, please click here.
Norte Maar thanks all who attended, and appreciates the overwhelmingly positive reviews of the project. As ARTINFO‘s Benjamin Sutton commented after attending opening night, “the resulting brain (and eye) candy forms a wildly varied but consistently nourishing whole that manages to integrate contemporary ballet, classical and modern (and postmodern) music, visual and performing art wonderfully.”
Critic James Panero of The New Criterion also found plenty to ponder in this brainy performance. His review of Brodmann Areas in the May Issue of the publication offers a comparison with last years ballet:
“With visual artists, sound artists, and dancers all coming together, last year was something of a celebratory free-for-all, a sprawling jam session with one guitar hero after the next compounding the awesomeness until your thoughts turned to the line at the Porta-John. “Brodmann,” in contrast, took on the subject of cognition and didn’t dance around the big thoughts. Tight, far more spare than a year before, the performance brought the dance up front while still collaborating with Bushwick artists such as Paul D’Agostino, who created rapid projections out of his triptych cardboard collages. This time Ryan Anthony Francis, as musical director, also arranged a score to link the various parts into a coherent theme.”
Panero ends with a nod to the collaboration between director/choreographer Julia Gleich and neural scientist Denis Pelli on peripheral vision. Panero’s complete review can be found here. For Panero’s review from last year’s production, In the Use of Others for the Change click here.
Norte Maar is thrilled to announce our spring ballet, a new collaborative project entitle The Brodmann Areas, choreographed by our president Julia K. Gleich. With the help of artists Paul D’Agostino, Audra Wolowiec, and Margo Wolowiec, the work presents a movement based exploration of dives the gaps and synapses that define the 52 areas designating the regions of the cerebral cortex of the brain. For the evenings of April 12, 13 and 14, as well as the afternoon of April 15, Norte Maar will take over the Center for Performance Research.
A portion of Brodmann will premiere at this Monday at Norte Maar’s first ever benefit event, hosted by Mitchell-Innes & Nash. In the following weeks, the team of dancers developing this new ballet will on continue to work towards the April premiere. Read more=>
Audra Wolowiec, the artist behind Norte Maar’s recent commission Concrete Sound, worked with young artists to explore thinking about sound and art. The kids each composed visual scores, using the standard form of sheet music in a plethora of interesting ways. Each artist developed their own imagery into a silent song of sorts, with the help of Wolowiec’s guidance and discussion of her practice, which often uses sound either literally or conceptually.
In the most recent issue of cultural review The New Criterion, editor James Panero featured Brooklyn-based Audra Wolowiec‘s sculptural installation Concrete Sound in his monthly column Gallery Chronicle. Originally appearing in the January 2012 print edition of the journal, Panero’s piece offered a survey of successful recent shows presented by several Bushwick favorites, Norte Maar’s penultimate exhibition of last year- featuring Wolowiec, Man Bartlett, and Lindsey Walt– among them.
“Woloweic’s concrete forms resonated with the room’s sound environment, at least metaphorically so,” Panero writes of the work. He goes on to comment on the Bushwick arts scene at large, noting that “by going local, Bushwick does not rail against the art establishment of museums, auction houses, mega-collectors, and celebrity Chelsea galleries,” but rather, “sets up a viable, alternative culture of arts patronage.” He hails Wolowiec’s project, commissioned by Norte Maar, as a stellar example of “how high concept can interact with the low-tech limitations of the neighborhood.”
In conjunction with her one-person exhibition Concrete Sound, Audra Wolowiec collaborated with the writer and poet Christine Shan Shan Hou to create a publication that acts as an extension of the installation. The publication, based on email exchanges of images and text between Wolowiec and Hou over a one-month period, is a dialogic experiment that unfolds the poetics of responding. A reading from the publication was held at Norte Maar on Friday, November 17.
“Do we want concrete?” writes Hou in the introduction to the collaborative publication, “As if uncertainty looms unconventionally like a black skirt in the corner. Sound waves its left hand amongst tremors. The women in search of an echo may unhook themselves from the mirror. Attention can drop through or hearing. Senses like alert chimneys without instruction. Can personal history be detached from the body?”
Christine Shan Shan Hou reads from Concrete Sound:
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