new work by photographer Nona Faustine and painter Kit White
October 11, 2019—December 31, 2019
October 11, 2019, 5:30 - 7:30 PM
SHADOWBOXING: photographs by Nona Faustine and paintings by Kit White, Opening Reception: Friday October 11, 5:30 - 7:30 PM
the artists will be in attendance
“Shadowboxing is a way to exercise and train the mind to see what one has never seen, and to connect the abstract with the concrete. Faustine’s photographs reveal a new way of seeing both man-made and natural monuments and places that are familiar, with a vision of the soul of the place, and the power of experience that has transpired there, or been forgotten. White’s paintings bring together the concrete, documentary aspect of place or landscape, with a personal and intentional private narrative. Together, they reconnect soul to place. Both artists explore time, history and its imprint on the landscape, on the people who walk there, and on the earth.” – Lisa Banner
Shadowboxing: Press Release, Photographer Nona Faustine and Painter Kit White
FreedmanArt is pleased to present Shadowboxing, an exhibition that uniquely pairs the new works of photographer Nona Faustine and painter Kit White. The opening reception will take place on Friday, October 11th and the artists will be in attendance.
In 2018, Nona Faustine and Kit White were invited by curator Lisa Banner to discuss their work on a panel at The Institute of Fine Arts, New York University. Although each artist works with different media and emerged from different backgrounds, their works resonated. Both artists have a strong personal tie to history and view the revisiting of long-held assumptions about the past as a necessity to move forward. History is alive and personal in their work; something which has forged individual identities and plays a critical role in how we perceive the present.
Nona Faustine’s photographs of monuments are a part of her My Country series. This selection of photographs relates to the aftermath of the Civil War that have re-entered our consciousness as points of contention, asking us what deserves to be memorialized and how these memorials project a misguided message to the culture.
Kit White’s recent work employs Civil War-era photographs as grounds on which to mark and impose a second space. This repositions the idea of landscape as something that is inherently political and often contested.
The photograph becomes a provocative ground upon which other meanings are imposed in each of these artists works. This physical place becomes one that carries its history with it and on to which we inscribe our own sense of what that history means.