#ja'tovia gary

[directedbywomen]

Celebrating Ja'Tovia Gary! "Intimate, often personal, and politically charged, her works aim to unmask power and its influence on how we perceive and formulate reality." Find out more on Gary's website.

The Giverny Document (2019)

"THE GIVERNY DOCUMENT IS A NOISY FILM, full of music, yelling, screaming, crying, scratching, wailing, and laughter. But the most deafening moments unfold in silence, when viewers are left to assess what is missing, what cannot be represented."

Read more on ArtForum's Ayanna Dozier on Ja’Tovia Gary’s The Giverny Document.

An Ecstatic Experience (2015)

"... An Ecstatic Experience (2015) presents a non-linear narrative that meditates on family history, inexplicable phenomena, and the notion of care." Read more in artsy.net's profile of Ja’Tovia Gary.

Explore Gary's filmography on MUBI:

#Ja'Tovia Gary #directed by women

[bossymarmalade]

Ja'Tovia Gary, Quiet As It's Kept (2023), film, 26 minutes, stereo sound, HD and SD video footage, color, 16:9 aspect ratio. Directed, edited, produced, animated by Ja'Tovia Gary

[ x ]

Woven between the layers of conversation are the most up-to-date manifestations of the novel’s prevailing metaphor. In her use of social media, Gary locates colorism, classism, and the spectacle of privilege, reminding us how they continue to shape our reality.

Set against the menacing perfection of Shirley Temple, viewers are presented with performances of blackness that can only be described as trivial depictions of the culture. These videos eschew nuance and individuality, confining an entire race to sensationalized caricatures.

In another clip, actress Thandie Newton’s mea culpa further complicates the exchange as she oscillates between victim and villain, bringing the character of Maureen Peal to mind. In the final clip, Azealia Banks appeals to Beyoncé for the right to remix her hit song “Brown Skin Girl.” In her closing words, Banks goads the popstar, calling her “Bianca,” provoking us to examine the chasm between accepted visibility and who can be empowered by it. 

#chromatic voice #we all make art #ja'tovia gary #usermarmalade

[burntsoft]

In my mother’s house there are many, many…

A way maker.

Mama’s Babies (2023)

#ja'tovia gary

[longlistshort]

Currently at Paula Cooper Gallery in NYC is Ja’Tovia Gary’s You Smell Like Outside..., an exhibition that centers around her 2023 film, Quiet As It’s Kept, and includes two new sculptures.

From the press release-

The artist continues her practice of interrogating and re-contextualizing multiple archives, concerning herself with the power and responsibility of language and the radical possibilities of narrative. The exhibition title You Smell Like Outside… is a Black Southern phrase that foregrounds the artist’s specific cultural origins with discursive traditions that invoke an interior knowledge. Inspired by Toni Morrison’s 1993 Nobel Laureate lecture, Gary attempts to heighten the contradictions between a living and a dead language. Notions of domesticity, interior and exterior, and the conflict between perception and being perceived are explored in the show.

With a filmic and sculptural language uniquely her own, Gary eloquently intervenes into foundational renderings of Black life to expand the conversation and the possibilities of being. The artist considers what is destabilized when we include the cinematic within the category of language, asserting: “if we are to ensure the future efficacy of storytelling, we must boldly and audaciously insist upon new narrative forms.” Quiet As It’s Kept (2023) is a contemporary response to The Bluest Eye, Toni Morrison’s first novel published in 1970. Set in Ohio in 1941, the book is an evocative illustration of the everyday particulars of colorism and its ravaging effects on the intramural. Themes of embodiment, psychoanalysis, and beauty are explored in both the source text and the answering film. Instinctual and eviscerating, the film encourages viewers to make meaning that is rooted in the subjective and examine their position within looking relations.

Following Gary’s critically acclaimed films THE GIVERNY DOCUMENT (2019) and An Ecstatic Experience (2015), Quiet As It’s Kept (2023) is an intimate bricolage of vintage Hollywood, direct animation, original super 8 and 16mm film footage, and documentary conventions. Mediating on the gaze and Black women’s particular embodied realities, Gary also re-contextualizes contemporary social media footage. Creating conceptual links for each viral clip to a character, event, or thematic element from Morrison’s story, the film emphasizes questions around the book’s themes of internalized and externalized anti-blackness in contemporary culture. Situated within an immersive installation with domestic elements, the film asks the viewer to employ an oppositional gaze that allows for narrative structures that run counter to those of the mainstream.

High John de Conquer came to be a man, and a mighty man at that. But he was not a natural man in the beginning. First off, he was a whisper, a will to hope, a wish to find something worthy of laughter and song. Then the whisper put on flesh. [1]

The sculptures in Gary’s Citational Ethics series illuminate the words of Black women through the medium of neon, with the title of each work serving as a citation for the quote. Citational Ethics (Zora Neale Hurston, 1943) cites Zora Neale Hurston’s 1943 essay on High John de Conquer, a Southern folk trickster figure who brought joy, laughter, and strength to enslaved people while continuously evading capture. The sculpture is a vanity mirror set which gestures towards a speculative future past. Comprising a desk, stool, and fan-shaped obsidian mirror, the object invokes the Harlem Renaissance, Art Deco, and southern Black Hoodoo lore. A departure from the previous works in the series, the quote is etched into the highly polished black stone said to bring about visions through gazing, while the furniture is rendered in neon. Drawing the viewer in to read the words written in the mirror while bathed in red light, the sculpture summons an intimate encounter with the self and spirit.

[1] Zora Neale Hurston, “High John de Conquer,” in The American Mercury, October 1943, pp. 450-458

This exhibition closes 3/11/23

#ja'tovia gary #paula cooper gallery #nyc art shows #film #bricolage #sculpture #toni morrison #the bluest eye #zora neale hurston #high john de conquer #art #art shows #chelsea art shows

[achillesinhighheels]

Biography of Ja'Tovia Gary, Artist and Filmmaker

[ddb-celiapalma]

Inspiração

Reflexão e Experiência

Fonte: “Leva, Leva” by FLEE Project 2022 (URL https://fleeproject.com/order)

Partindo da fase da inspiração no método da a/r/cografia e de modo a refletir sobre as tradições e a ruralidade das gentes algarvias, encontrei recentemente o projeto centrado nas canções - cânticos e “ladaínhas” dos pescadores algarvios. O projeto tem como nome “Leva Leva, Ladaínha de Pescadores” e é dinamizado pela editora independente FLEE Project. A partir do estudo e reflexão deste, e na exploração do tema na prática artística, o mesmo revelou-se o fio condutor ou poderei também definir como o gatilho para o início da minha investigação, na questão da identidade e valorização da mulher algarvia, como por exemplo as mulheres dos pescadores, que foram esquecidas e quase invisíveis pela nossa história. Com este exercício exploratório questiono o outro lado da história, de modo a construir a linearidade da narrativa. (Marzo & Dupont, 2022)

Fonte: imagem do filme ‘Raiva’ adaptado do romance Seara de Vento, de Manuel da Fonseca. Um filme de Sérgio Tréfaut.

Ao refletir sobre o trabalho feminino na ruralidade da nossa história, “na lavoura, no tratamento dos animais, no artesanato, no comércio ou nos serviços, as mulheres trabalhavam de maneira informal e por isso «invisível», contribuindo, para além do serviço de donas-de-casa e mães de família, para o sustento familiar e para o desenvolvimento económico em geral. (Cole, 1994) 

A questão inicial que coloco em modo inspiração, traduz-se na procura da mulher de hoje e nas suas histórias, dirigindo-me a todas aquelas que continuam in/visíveis. 

Projeto inspiração

O trabalho pretende ser um projeto comunitário de pesquisa fotográfica, videográfica e sonora que relaciona as histórias das mulheres ligadas aos ofícios, afazeres e ao seu papel na sociedade de ontem e hoje.

Ainda numa fase inicial do estudo, questiono quais os campos e colaborações possíveis, se selecionar apenas um município do Algarve como zona de atuação ou toda a região algarvia, ou uma abordagem genérica pelo território.

O projeto compreenderá uma serie de encontros comunitários de partilha, recolha e captação de registos sonoros, recolha de imagens vídeo e fotografias de hoje e de outros tempos, e uma pesquisa no campo social em contexto rural.

O resultado da prática artística culmina numa exposição imersiva – “o tempo das mulheres in/visíveis” por exemplo. 

Hashtag

#inspiracao #narrativa #identidade #mulher #território #memóriacoletiva

Ideias aleatórias

Simulação em ambiente imersivo, Layers de imagens, vídeo e registos sonoros como dizeres e cânticos, processadas com software de programação P5.js web editor ou Processing, que permita a interação do espectador, onde o próprio processa a narrativa imersiva. 

Corporização de várias mulheres em retrato vídeo.

Apropriação de objetos do quotidiano das mulheres como forma de complementar a instalação prática artística.

Apropriação de alguns registos sonoros de filmes como Raiva 2017 (URL trailer https://www.youtube.com/watch?v=5zguMBCXVi8) de Sérgio Tréfaut que simula o ambiente imersivo nos remotos campos do Baixo Alentejo, que me remete ao som do verão quente da minha infância na serra algarvia. A ideia prende-se na revisitação do lugar como espaço de imersão na prática artística. Neste caso será necessário perceber até onde é possível a apropriação de alguns registos sonoros do filme, sem colocar em causa os direitos de autor do mesmo.

Outras fontes no desenvolver da investigação poderão vir a ser encontradas e uteis tal como a filmografia completa de Michel Giacometti já referenciada anteriormente pelo coletivo FLEE Project nos cânticos dos pescadores (URL https://www.youtube.com/playlist?list=PLo4KQOC0nStYGFAt7SsJfLjpWhPmRoqQx).

Fonte: instalação “The Giverny Suite” (2019) da artista Ja'Tovia Gary.

Conclusão 

Na prática artística a desenvolver, no contexto imersivo, a primeira fase da inspiração do trabalho de investigação/criação contribuirá para criar a narrativa e o exercício exploratório, traçar uma linha (re)definidora e (re)unificadora como significado e experimentação do artefacto artístico. 

"A inspiração poderá não ser sempre consciente e identificável no processo de criação artística e, frequentemente, só em retrospetiva poderá o artista/investigador determinar o que lhe esteve na origem." (Veiga, 2020a, p.56)

Referências Bibliográficas

Cole, S. 1994. IV O trabalho das mulheres em terra e no mar. In Mulheres da praia: O trabalho e a vida de uma comunidade costeira portuguesa. Etnográfica Press. doi:10.4000/books.etnograficapress.3688

Marzo, Alan. Dupont, Olivier. (2022). Leva, Leva. Ladainha de Pescadores Portugueses. FLEE 004. Saison France Portugal.

Veiga, P.A. (2020a). A/r/cografia: A Criatividade Investigada na Investigação Criativa. In Investigação - Experimentação - Criação em Arte - Ciência - Tecnologia, Marques, D. & Gago, A. (Orgs), Publicações Universidade Fernando Pessoa, Porto, ISBN: 978-989-643-163.

Veiga, P.A. (2020b). O Museu de Tudo em Qualquer Parte: arte e cultura digital - inter-ferir e curar. Coleção Humanitas, Centro de Investigação em Artes e Comunicação. Grácio Editor. ISBN: 978-­989-­902-3­25­-3.

#DMAD #inspiração #instalacao #art inspiration #digital art #arteinmersivo #digitalinmersiveart #woman #mulheres

[artlimited]

Eniola Dawodu, Doreen Lynette Garner & Ja'Tovia Gary | Partus/chorus https://www.artlimited.net/agenda/eniola-dawodu-doreen-lynette-garner-ja-tovia-gary-partus-chorus-exhibition-galerie-frank-elbaz/en/7584881

[olodara]

The Giverny Suite, 2019

Film, 39:56 minutes, three-channel installation, stereo sound, HD and SD video footage, color/black & white, 1920 x 1080, 16:9 aspect ratio, dimensions variable

in

Solo Exhibition; Ja'Tovia Gary: The Giverny Suite Zollamt Museum Für Moderne Kunst, Frankfurt, Germany

[kunthug]

Altar to Ọṣún

in

Ja'Tovia Gary’s The Giverny Suite

Museum of Modern Art, New York, NY, USA

#ja’tovia gary

[sireneatspoetry]

Black Radical Imagination 2015 Trailer from Black Radical Imagination on Vimeo.

Featuring Ja'Tovia Gary, Cauleen Smith, Terence Nance, and Lauren Kelley.

"Sorry" - Webslinger soundcloud.com/thewebslinger

[brooklynmuseum]

Here for week four of @mtv x @brooklynmuseum Art Breaks is Ja'Tovia Gary with her piece “It’s Pronounced JA’TAAAAAVIA” (2021). In this work, Gary creates a moving collage through archival videos and images of herself, her family, and others utilizing the aesthetics of Afro Surrealism. A multidisciplinary artist, Gary’s work explores the distorted understanding of past and present Black life and the nuance of Black interiority. 

We’re taking a break next week for the Video Music Awards, but will be back the week after with our final Art Break. Don’t forget to see this video in Times Square at 1515 Broadway and check out the full length videos on MTV and their sister networks!

#art break #art breaks #mtv #brooklyn museum #Ja'Tovia Gary #film #filmmaker #collage #video #archival #family #Afro Surrealism

[modernerealisateur]

#ja'tovia gary

[poesiecritique]

195 Lewis, Pearson, 2012 ou S1-9x5 fois = un film

au détour de liens pas loin relayés, je tombe sur American Fringe, festival américain cinémathèquien, annulé cos-covid, & qui cette année propose en ligne 2 films de chacune des sélections précédentes dans American Fringe on line il y a 195 Lewis réalisé en 2017 par Chanelle Aponte Pearson, que je ne connaissais pas, mais je ne connais pas le cinéma américain indépendant, et moins encore le cinéma indépendant d’aujourd’hui, merci Fringe, alors Chanelle Aponte Pearson je la découvre, multi-casquette, cheffe-opératrice, scénariste, productrice et réalisatrice, elle est membre de la New Negress Film Society, un collectif de 5 réalisatrices noires, avec, en plus de  Chanelle Aponte Pearson : Nuotama Bodomo, Dyani Douze, Ja’Tovia Gary, Stefani Saintonge et Yvonne Michelle Shirley, qui a été fondé en 2013, pour “créer une communauté d’entra ide visant à la promotion et aux prises de conscience” - politique et artistique, et pour le dire extrêmement rapidement, que je comprends être intersectionnelle.

195 Lewis est très court, pas même 50mn, c’est l’enchaînement de 5 épisodes, micro-websérie de 5x9 mn d’où découle, pour faire film, un étrange montage, ultra linéaire, avec au milieu les cartons, double, doublé deux fois : fin + début, 195 Lewis-195 Lewis, mode de visionnage terriblement différent de l’enchaînement youtube-viméo-plateforme-de-diffusion-en-ligne de la série : plus la micro-action à la fin de l’épisode pour lancer le suivant mais toujours ce rythme qui accroche descend monte revient descend remonte suspend, t’oblige à agir et là rien, ça enchaîne, tempo moyen-métrage, mais qu’est-ce que cette temporalité vient-elle faire dans celle d’une série ? je suis perplexe, mais connais trop peu les réflexions en cours, qui courent-courrent-s’accélèrent, sur ces habitudes, ces nouvelles modalités et nouveaux regards conséquents, les nouveaux corps qui interagissent avec du contenu, court, à relancer, te relançant sans cesse, aiguisant ton appétit et ta fatigue

passer ce modus avec lequel aucune de mes habitudes n’a prise, 195 Lewis, one ninee five Lewis est réjouissant - même si, j’imagine, comprenant sans doute qu’une demi-moitié des allusions, oh L word! l’autre m’échappe - qu’il pourrait l’être deux fois plus, mais ce n’est peut-être pas si mal de savoir que m’échappe, comprendre, lâcher prise, ne pas pouvoir tout saisir, que ça glisse entre mes doigts, savoir que toutes les références je ne les ai pas, ne les aurai jamais toutes, me calmer avec ça, être heureuse que certaines soient ainsi offertes d’une communauté noire lesbienne, queer, polyamoureuse ; je pense là au fanzine bluettes que je viens de lire chez @swedesinstockholm​  où se tisse tout ce que je connais, d’ingold au transposthumanisme écosexuel, de l’effritement whitheheadien que peint stengers au dieu changeant d’Octabia Butler, d’une aisselle en feu d’une jeune fille à la biopolitique foucaldienne,  tout ce que je connais mal, plutôt par strates, juxtapositions de compréhensions comme on construit un château de sable dont le continuum nous précède, évidemment, mais dont on veut bien l’être un grain de sable tant qu’on vit - alors quoi ? alors les références ça sert à savoir qu’on touche comme à être touchée, ça sert à ouvrir celles qu’on a si on arrive à ne pas être submergée par tout ce qu’il y aurait encore à savoir, c’est un peu comme le motif dans le tapis, dès que tu découvre que tirer un fil pourrait défaire aussi bien le tapis, tu fais attention, tu le suces et autour de tes doigts tu l’enroules, tu fais un nœud serré que tout tienne encore, et tu t’allonges sur la tapis, certaine que chacun de ses poils vont te faire voyager, tranquille, jusqu’au cœur du mystère, vas-y voyage ces histoires courtes 195 Lewis  me touchent, ce sont des histoires d’amour et de désir, où amour et désir sont aussi bien amour et désir que politique, où il est question de trouver sa place, trouver un boulot, ne pas rivaliser, aimer, savoir aimer, désirer et aimer, ne pas avoir le cœur fendu de jalousie propriétaire mais c’est difficile, ça flirte avec tout ce qui est difficile parce que ce n’est pas parce qu’on enlève les gars que leurs habitudes disparaissent de nos corps, et qu’au delà de leur habitudes et des genres le spectre du pouvoir ne cesse de serpenter, mais malgré tout, ça laisse quand même du champ, de la place pour respirer ; c’est doux comme l’exctasy partagée avec qui est aimé*e, on n’est pas tout à fait dans la réalité ; si 195 Lewis n’est pas une websérie-film de ma réalité, mais de cette réalité-ci, d’un Brooklyn qui “is constantly changing, and it continues to welcome a host of people from all walks of life. With 195 Lewis, I’m more interested in representing a part of Brooklyn that is specifically Bed-Stuy, Black, queer, and saturated with activists, artists, and other cultural producers that make the borough so inviting in the first place. Between lighting, wardrobe, production design, and dialogue, I want audiences to feel completely immersed in our world.” Chanelle Aponte Pearson  que (ce) Brooklyn ne peut pas être ma réalité (par exemple parce que je suis blanche), sentir que celle-ci peut se traduire ainsi, me rend très joyeuse ! >>  à voir ici jusqu’au 2 déc. : Pearson, 195 Lewis, USA, 2017, 47′15  <<

#195 Lewis #new negress fim society #chanelle aponte pearson #pearson #nuotama bodomo #dyani douze #ja'tovia gary #stefani saintonge #american fringe #cinémathèque française #henri #l word #poésie critique

[ffsimsohigh]

#JA'TOVIA GARY #CARE #ANTIDOTE #VIOLENCE #AMERICAN ARTIST #HAMMER PROJECTS #BLACK FEMINISM #CARE FOR OTHERS #FFS

[longlistshort]

Artist Ja’Tovia Gary’s Citational Ethics (Saidya Hartman, 2017), 2020, from her recent exhibition flesh that needs to be loved at Paula Cooper Gallery in NYC.

#ja'tovia gary #saidiya hartman #paula cooper #paula cooper gallery #paula cooper nyc #nyc art shows #art shows #sculpture #neon sculpture #art #new york city art shows #chelsea art shows #chelsea galleries #nyc #new york

[newyorkarttours]

Ja'Tovia Gary at Paula Cooper Gallery

Ja’Tovia Gary pictures the variety in Black womanhood in her new three-channel video installation at Paula Cooper Gallery with footage shot of the artist in Monet’s garden at Giverny intercut with video of Nina Simone’s 1976 performance at the Montreux Festival and street corner interviews with women of African descent in Harlem. Through direct animation on archival film, internet footage and her own images as well as montage, Gary employs a variety of techniques to present a complex view of Black interiority. (On view in Chelsea through March 21st). Ja’ Tovia Gary, installation view from THE GIVERNY SUITE, three-channel film installation, 2019.

#ja'tovia gary #paula cooper #gallery #chelsea #video #giverny suite #monet #nina simone #tour #art