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Angelo Lanza

@jeffrey.stark

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2015 - 2024 by @aangelolanzaa
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How does the past dictate the present and even the future? Columbian artist Andrés Monzón-Aguirre’s (@andresmonzon) work explores themes of displacement, memory, and ancestry while simultaneously addressing violence, grief, and healing. Referencing the past and connecting the future, Monzón-Aguirre balances early Colombian imagery from the Quimbaya and Cauca regions. Monzón-Aguirre’s 2021 site-specific installation Bodegón is a culmination of their practice’s themes. Situated in a Chinatown storefront in collaboration with Jeffrey Stark (@jeffrey.stark), Bodegón confronts immigration and international trade. The large scale plaster and limestone pyramid details the interconnected cross generational experiences that many people face navigating the world at large from a multicultural and multi experience lens. Through his ceramics and sculptures, Monzón-Aguirre seeks to address cultural identity while balancing what came before us and what lies ahead. Source: jeffreystark.nyc #AndrésMonzón-Aguirre #sitespecificwork #sitespecificinstallation #ceramics #diaspora #culturalidentity #bipocartist #sculpture
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JUST DROPPED! Ep.196 Jacob Mason-Macklin lives and works in Queens, New York. Mason-Macklin graduated from the Columbus College of Art & Design in 2017. He is a 2016 alumnus of the Yale-Norfolk Summer School of Art and a 2019 alumnus of the Skowhegan School of Painting and Sculpture. In 2021-2022, Mason-Macklin was an Artist-in Residence at The Studio Museum in Harlem, Harlem, New York, USA. Recent exhibitions include: “Underground” at Mamoth Gallery in London, UK (2023), “The Future Won't Be Long Now” at SOMEDAY, Lower Manhattan, New York, USA (2023), and “It’s Time For Me To Go” at MOMA PS1, Long Island City, New York, USA (2022-2023). A dou-exhibition with artist Ryan Huggins at Page gallery, New York, USA (2021). “Soul Procession” at Interstate Projects, Brooklyn, New York, USA (2020). “Pure Hell” at No Place Gallery in Columbus, Ohio, USA (2020); “Bounty” with Cudelice Brazelton at the Jeffrey Stark Gallery in New York, USA. Curated by Amanda Hunt (2017). Photo credit for headshot: Ally Caple Tune-In!!! Link in bio. Available on major podcast platforms. @_mamoth_ #JacobMasonMacklin @mixedpaint  #AllyCaple #MAMOTH  #Underground #StudioMuseuminHarlem #SkowheganSchoolofPaintingandSculpture #NoPlaceGallery #JeffreyStarkGallery #AmandaHunt #cerebralarttalks #cerebralwomenarttalks #PhyllisHollis #cerebralwomen #artpodcast  #arttalk #cerebralwomenpodcast #artwillsaveus
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Happy Valentine’s Day to @aangelolanzaa who gave me my first and maybe only art show. From 2015 until its closure, @aangelolanzaa hosted dozens of amazing shows @jeffrey.stark, a basement window display gallery named after the security guard whose office it once was. I didn’t know that I was installing an art show when I showed there; I thought, a space, cool, a bookstore, videos, me. After spending weeks in this basement hawking books, it dawned on me that people use galleries to sell things for real money, and I felt pretty stupid. It was romantic at least. A video I made played on loop during the mall’s open hours. I didn’t have to be there all the time. But I was there, a lot, between Nov 3, 2018 and Feb 14, 2019, wondering what the future of literature could mean if I was down there reading Lost Illusions, which I’d been hired to read alongside someone as a gift from their partner. (Lost Illusions is about an arrogant young beautiful writer who moves to the big city and ends up becoming a shoddy journalist and killing his girlfriend by neglect and all kinds of other things I basically did when I first moved to New York.) Angelo had a nanny cam set up to live-stream the gallery 24/7 on his website. It meant you could go online and see me lolling about which was good for my mental health: it gave me a reason to dress up. I adored the mall kids who would visit me and play on the Big Book @matthilvers made and it was thanks to being there that I got Maggie Lee’s art for the cover of my novel. Also, a stranger found me down there while looking for a bathroom and ended up writing about the encounter in one of my favorite reviews of Mariposa (it’s glowing… he calls me a writer’s writer… maybe I should write again…). We also hosted one of my all-time favorite @hardtoread events in the mall. The dumpling spot in the mall is still open and it’s fire….
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I’ve been doing @hardtoread for almost 7 years now & I hope to for another 23 at least. In an effort to make hard’s efforts more sustainable—and to have a place to put the amazing materials generated from it—I’ve launched a Patreon. All proceeds go to @hardtoread’s operational funds (renting equipment, reader travel, editing, etc.). Our next live events are this fall in NYC (and *maybe.. LA..). Until then, the Patreon is hosting exclusives from our archives. So far that includes the voices of Donna Haraway, Eve Babitz, @analisa_ @haydendunham @jonas_wendelin @jamiesonwebster @openinguptowhatyouwant @sleepiestgurl @brontezpurnell @amaliaulman @misc.pippa @tstar7 I live for liveness. I’m cheesy: making memories = writing. And without community, we are nothing. Your support will make more events, exhibitions, recordings, publishing & social grounding possible. Grass 🌾 roots💧 Patreon.com/HardtoRead & link in bio
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making it work to be together while we can, 2018 Tau Lewis Upcycle a circumstance or an idea or an object. ‘‘I think there’s a lineage,’ she says, gesturing to her own work, ‘though I do think there’s a cut-off of access at a certain point.’ I ask her what she means by this, and she explains by way of process, citing her tendency to embed objects in her sculptures. Acknowledging what’s unknowable about her art ancestry is similarly about preserving autonomy, she says, ‘There will always be things about blackness and experience that are simply not knowable, or to be captured or bought.’ And so Lewis turns to the imaginary.’ (Sky Goodden) artbasel.com ‘Invested in what she calls the ‘material DNA’ of her fabrics, Lewis takes donations and scours the Salvation Army shops in whichever place she’s visiting to source her textiles. She works while on the road, between fairs and exhibitions, finding new swathes and quilting from her suitcase. The artist has long favored found objects (chains, paint cans, pipes, toys, hair, stones, copper, fabric, wires, acrylic paint, plaster), but recently she’s been particularly involved with fabric. In reviving discarded commodities, Lewis tells me, she transmutes their received histories and energies, and reveals the material’s provisional, labor-intensive nature as well as its evocations of the itinerant realities of the Black Diaspora. ‘So many of our cultural tools, especially against oppression, have to do with physical or situational upcycling,’ she says, ‘[whether] of a circumstance or an idea or an object.’’ coopercolegallery.com “The exciting thing about fabric, when it’s not brand new, it has character, it’s mysterious. I love the imperfection, and I love wondering about their secret lives.” art21.org #ResistanceLessonsOverTime #TauLewis #🇨🇦ContemporaryArt #🏳️‍🌈ContemporaryArt
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ener.G @ Jeffrey Stark by Kiki
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tuff kiko
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The Failure of the Imagination Cafe Players opens Sunday afternoon 4-6. I think it’s supposed to be very cold but I hope that’s not a deterrent. 🌹
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Last days to see BODEGÓN ny @andresmonzon @jeffrey.stark 🌹 with text by @elenamariakg supported by the New York City Artist Corps. ~excerpt here~ Working from the replica as a point of departure, Monzón-Aguirre contemplates centuries of loss and displacement with their geometric interpretations of indigenous Andean vessels and adornments. Although their objects reference Quimbaya and Tumaco-La Tolita goldsmithing and ceramics, the space between these histories and the artist’s scattered lineage suggests a rupture of relations; an errantry set forth by Glissant in which displacement turns to wander and the fruitful possibilities of self-determining relations in exile. Through choices of color, material, and form that acknowledge inherited and unearthed relations, Monzón-Aguirre’s Bodegón offers a maquette for the future. While the artist has been researching ceramic processes and production in Medellin for the past decade, this installation accepts the material challenges of working within liminality. The spheres here are based on Monzón-Aguirre’s glazed ceramics, which appear lightly-speckled and metallic from hematite crystals developed in a wood-fired kiln. Here, far from the earth and kiln, the artist turns to an architectural and site-specific response to the East Broadway storefront. Suspended as the artist is uprooted, this plaster and limestone pyramid becomes a temporary answer to the work’s enduring question - when cultural origin is detranscendentalized into fiction*; what are the forms universal to our collective being? This architectural gesture of abundance and repetition suggests the answer is many.
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One more week to see Bodegón at @jeffrey.stark. It is viewable through a glass storefront everyday from 9am to 7pm until the 21st of November. 88 East Broadway #B11 (basement level). Photo by Timothy Doyon.
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The opening of Bodegón was so much fun and I felt so loved and would not change a thing about it. Thank you to everyone who supported me by advising me, sharing, showing up, or helping in any way. ❤️ Especially @wingsteryau for being the most amazing friend and for being so excited by my work and so encouraging in every step of this process. @pain_tingzzz for your friendship, advise, and conversations in the studio which ground me and I value enormously. @simoneyvetteleigh for your care, advise and support. Angelo @jeffrey.stark for showing my work! @mnjaekim for the restaurant footage, you are a genius.
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Bodegón at @jeffrey.stark in 2021. Photographs by Timothy Doyon, courtesy of the gallery.
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