PULSE Contemporary Art Fair
March 3 – 6, 2016
The Metropolitan Pavilion, New York

booth A121 | featuring YUMI JANAIRO ROTH
on view in The Corridor Julianna Foster + Tina Rath

complimentary admission for the first 50 people to sign up

PULSE Prize Nominee, Yumi Janairo Roth, disrupts the familiar and re-contextualizes everyday objects. Stacked Datsun, a special installation at the fair,  utilizes wooden pallets, the workhorses of domestic and international shipping—continuously recycled, constantly traveling, transporting hundreds of pounds of goods from destination to destination and always separated from their point of origin. Subverting the functionalism of international shipping with the design language of architecture and furniture, Roth’s pallets are painstakingly inlaid with mother of pearl. These objects suggest a number of interpretations, including how we value labor as well as ideas about memory, immigration and displacement.

Yumi Janairo Roth was born in Eugene, OR and raised in Chicago and Washington DC. She currently lives and works in Boulder, Colorado where she is a professor of sculpture and post-studio practice at the University of Colorado. Yumi has created a diverse body of work that explores ideas of immigration, hybridity, and displacement through discrete objects and site-responsive installations, solo projects as well as collaborations. In her projects, her objects function as both natives and interlopers to their environments, simultaneously recognizable and unfamiliar to their users. She received a BA in anthropology from Tufts University, a BFA from the School for the Museum of Fine Arts-Boston and an MFA from the State University of New York-New Paltz. She has exhibited and participated in artist-in-residencies nationally and internationally, including New York (Bronx River Art Center, Sara Meltzer Gallery, Momenta Art, Lower Manhattan Cultural Council, Smack Mellon, Cuchifritos), San Francisco (Limn Gallery), Portland (Institute of Contemporary Art, Map Room) Houston (Lawndale Art Center, Diverse Works), Boston (New Art Center), Denver/Aspen (Rule Gallery, Center for Visual Arts, Museum of Contemporary Art, Aspen Art Museum), Minneapolis (Soap Factory), Milwaukee (Instituteof Visual Arts, Kohler Arts/Industry), Santa Fe (Museum of Fine Arts), Seattle (Consolidated Works), Mexico (Arcaute Arte Contemporaneo, La Galleria RufinoTamayo), the Philippines (Ayala and Vargas Museums), Colombia (Universidad Nacional de Colombia) Czech Republic (Galerie Klatovy-Klenova, Institute of Art and Design-Pilsen), and Germany (Frankfurter Kunstverein).

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Julianna Foster’s work begins with an existing narrative—a story or text that refuses to be forgotten. The Swell series originated from accounts of a nor’easter that hit a small town on the Atlantic coast, and its mysterious aftermath. The morning after the storm, residents of the town reported strange sightings out at sea, like clouds of smoke rising from the horizon, orbs of light, and unrecognizable objects floating on the water—fleeting visions that, as soon as they appeared, were gone. Swell is a retelling of events as Foster interprets them utilizing photographic images, artist books and newsprint editions. The series consists of digitally manipulated images using photographs both taken and found. Foster’s own shots are of natural landscapes, architecture, and hand-made, model-scale, built environments that are lit, photographed, and digitally manipulated. Through this series, Foster’s intention is not to illustrate in a literal sense, or to dictate and record the witness version of the experience, but instead to take liberties with a narrative account of an event and reconstruct the outcome.

Julianna Foster received an MFA in Book Arts + Printmaking from the Philadelphia’s University of the Arts and a BFA in Design from the University of North Carolina at Greensboro. She is currently a visiting assistant professor in the Photography program at the University of the Arts, Philadelphia, where she has taught in various disciplines since 2003. Foster has been a guest lecturer at Rowan University and Temple University and has sat on Fulbright and Graduate Thesis Committees at UArts. Foster was a 2014 artist in residence at the Philadelphia Photo Art Center and selected as a 2015/2016 finalist at the Center for Emerging Visual Artists.  Her solo exhibitions include Philadelphia Art Alliance, Painted Bride Art Center, Fleisher Art Memorial (2013 Wind Challenge recipient). Group exhibition include: Pennsylvania College of Art and Design (Lancaster PA), Newspace Center for Photography (Portland, OR), Abington Art Center (Abington, PA), and Grizzly Grizzly (Philadelphia, PA). She has also participated in international group exhibitions in England, Romania, Spain, Korea and Bulgaria, and has work featured in private collections across the country.

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If we liken meditation to the constant pouring of oil from a jar, there is no interruption to the flow. A steady stream falls. In order to reach that state, one must develop concentration. Beginning to summon that concentration is like pouring the oil – but with interruptions. Focus on the breath, drop, drop, drop – oh, I need to walk my dog – drop, drop – should I answer his email? – drop, drop, drop, drop, drop – I really like my new sweater – drop, drop, drop – so on and so forth until at long last the mind is concentrated enough that the drops coalesce into a single uninterrupted stream. This is when we enter a meditative state. This state is sometimes referred to as “the Void.” The Void, at best, can be explained as “nothingness” or “emptiness,” generalized words used to describe a state that has no language. It is here that “no thing” is experienced.

These drawings record the necessary and tedious training needed for the mind to concentrate. The mind generates thousands of thoughts. When sitting to meditate, distraction is the rule. One must continuously focus the mind. The act of making each circle is a physical mantra. These thousands of tiny circles build up into a form that records the effort of concentration. The repetitious mark making, the haptic translation of an intangible experience leaves a residue of the contemplative practice.

Tina Rath received her MFA from the Sandberg Instituut in Amsterdam and her BFA from the University of the Arts in Philadelphia. Her work has been exhibited internationally including the Stedelijk Museum, Amsterdam and the Portland Museum of Art in Portland, Maine and is included in the permanent collections of the Mint Museum in Charlotte, NC and the Museum of Art and Design in New York, NY as well as in many private collections. Her work can also be seen in numerous magazines and books. Rath’s work has been supported by grants from the Maine Arts Commission. From 2002-2010, Rath was an Associate Professor at Maine College of Art in Portland, Maine and was the Chair of the Department of Metalsmithing and Jewelry from 2006-2009. She has also held faculty appointments at the Pacific Northwest College of Art in 2011 and at the University of Wisconsin, Madison in 2013.

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