Albee: There is a Works Progress Administration mural in San Francisco called the Prismatarium, which was created in 1939 by Hillaire Hiler. It’s a circular room, with gray walls and a color wheel painted on the entire ceiling. Hiler was a psychoanalyst, color theorist, and painter. Radical Plastic curated by Rachel Reese at CUE Art Foundation, New York, works to answer these questions. Reese, Associate Curator of Modern and Contemporary Art at Telfair Museums in.

Becca Albee David Horvitz Antonia Low Leung Mee-ping Stephanie Nava Sonia Shiel Nick Thurston Albert WeisMerging the poetic, the historical, the hidden and the absurd, Unseen Presence is a group exhibition which chases concepts of time, repitition and suspense. The exhibition merges contemporary vision and ideals with an aim to imagine and re-call the past. Over the duration of the exhibition works may be shown which are incomplete and some might be removed to make way for new ideas. Unseen Presence supports various research and studio practices of recent and current arts practitioners participating on IMMA’s Residency Programme and serves as a testing ground for developing projects at the Museum.Using Hilaire Hiler’s 1939 Prismatarium as a starting point Becca Albee has adapted Hiler’s use of a colour wheel set in contrast to grey bands on the walls. Originally created as a “ladies’ lounge” in the Aquatic Park Bathhouse in San Francisco, it is currently a senior centre and maritime museum, hints of which are visible in the video. The grey mural will serve as a test site for the addition of other elements during the exhibition.David Horvitz has contributed, How to exit a photograph, a photographic triptych whose print quality files are openly downloadable and printable.

You can retrieve the files. IMMA’s Blog features Last Stop the Gravediggers: A dusk till dawn residency at IMMA, an interview with Horvitz about his unique time at the museum.Antonia Low has photographed a window in the rambling hallways of the Palais des Beaux Arts in Bruxelles and printed the image as a voile. Hidden, forgotten and overlooked areas elude the customary lines of sight, permitting new possibilities as regards their use, purpose and charge.Moon Room by Leung Mee-ping is a work about the artist’s recollection of the first time she saw a Francis Bacon painting.

Leung merged her personal memories and professional influences with new contexts which mirror the ambiguous spaces found in Bacons paintings.From a basis in drawing Stephanie Nava is concerned with relationships, engagements and encounters with the natural world. Her work is a montage at its core, assembling ideas as much as images or objects in an inherently narrative form, for Unseen Presence Nava will continue to bring her visual interpretation of IMMA’s environment to commence a new visual narrative.Sonia Shiel’s Parse is the story of a young girl determined to bring about the return of her mother from a trip to outer space, in accordance with the laws of jocular physics under which her world is ruled. Set in a cartoon-habitat, where things do fall slowly; space and distance are compressed; death is recoverable from and stars are souvenirs.Nick Thurston’s pocketbook Romantic Tragedy is a potentially infinite epic. It treats the recto-verso cycle of the codex book like an ox-eye daisy. With one ink, one fold, one staple and the equivalent of one A4 sheet of cheap recycled paper, it plays out a classically romantic, first-person tragedy.Albert Weis’ taped silver is a folded sheet of paper attached to the external wall with aluminium tape. The tape hides the paper but also highlights the hidden folds of a spatial structure which refers to the dimensions of the adjacent doors of the museum. In temps (hours) the illusion of a normal clock is given, the hands turn in synchrony, but in the opposite direction.

Past and future are reflected and hold the present in the balance.

Becca Albee, Eyre, MR, 2015. Installation at 356 S. Mission Rd, Los Angeles, 2015. Photograph by Brica WilcoxCourtesy the artist and 356 S. Mission RdIn early October, when I spoke with Becca Albee about the roots of her artwork in activism, feminism, and ’90s punk, little did we know what was ahead: an upset of an election and a resurgence of mainstream feminism, including “Pussy Hats”. Rooted in a curiosity about physical materials from negatives to newspapers, Albee investigates the mechanisms of history. Her most recent work, as prismataria at Et Al in San Francisco, considers color—seemingly formalist, but deeply political.

When color, or a sensitivity to it, has been long associated with women, what does it mean to be neutral?Annika Klein: How does your musical background—specifically feminist punk and Riot Grrrl—influence your approach to photography?Becca Albee: Playing music in the early ’90s, when I was living in Olympia, Washington and attending Evergreen State College, was formative. In part because of the political climate—there was a sense of urgency, and with music, there was almost an immediacy in communication. I was self-taught and learned from, and created with, my friends.

I was able to blend together my interests in biography, art, and politics within a larger community. When writing lyrics, I could reference an individual or an issue, and through metaphor, layer the narratives. The music originated from a feminist core—which is to say, placing feminism at the center of my work, rather than patriarchy. There was no separation between what was and was not my art: I made zines, I made songs, I made images.In the late 1990s, when I started to make more visual art than music, I hung on to the same starting points that I did with songwriting, which was a concept that was initiated by an impulse: experience, historical, material. Those were all things that I was making music with and about, and ultimately is how I start my projects. Becca Albee, Radical Feminist Therapy, 12.

Difference, Working With (detail), 2016Courtesy the artistKlein: Your series Radical Feminist Therapy: Working in the Context of Violence shares its name with a book by philosopher and feminist therapist, Bonnie Burstow. What is your relationship to Burstow’s book?Albee: At Evergreen, I took a course called “Women’s Health and Healing.” Radical Feminist Therapy was one of my textbooks from that class. A foundation of the book is that there should be a general understanding that the patriarchy is a violent society, and the importance of recognizing the impact of oppressions and multiple oppressions.

I still have my copy of the book, where I wrote numerous notes in the margins with color pens. For this print series, I removed all of the printed text and left my marks: the underlines and notes. Each print represents all of the markings from a single chapter.Klein: Most artists, especially photographers, want their work to be shown in perfectly neutral lighting. In your most recent exhibitions, why did you install a light that changes colors?Albee: There is a Works Progress Administration mural in San Francisco called, which was created in 1939 by Hillaire Hiler. It’s a circular room, with gray walls and a color wheel painted on the entire ceiling. Hiler was a psychoanalyst, color theorist, and painter.

For him, color is about psychology. The Prismatarium was originally purposed as a ladies’ lounge. In the WPA proposal for the mural, he wrote that everyone knows “the fair sex” has a higher connection to color.

The proposal also references a light fixture that would rotate through cyan, magenta, and yellow—which he considered to be the primary colors. From all accounts, that light fixture was never made. So, I fabricated this rotating light fixture and created photographs that are meant to be viewed in this cyan, magenta, and yellow light. Becca Albee, Untitled, 2015.

Installation at 356 S. Mission Rd, Los Angeles. Photograph by Brica WilcoxCourtesy the artist and 356 S. Mission RdKlein: You mentioned that the Prismatarium was intended only for women, and you have also have photographed color-based products, such as Aura Soma, that are clearly marketed to women. How does your interest in color relate to your interest in feminism?Albee: I researched different lifestyle-oriented, color-related methods or therapies, looking at the gender constructs surrounding the marketing of color and its relationship to capitalism. For Aura-Soma, you go to a specialist, and there are numerous bottles with two different color liquids presented in a lighted grid, and you pick the three or four bottles that you’re drawn to. It is clearly marketed to women—the perfume bottles, the colors.

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The session is somewhat like a Tarot card reading, but you’re supposed to buy your selected bottles as “color therapy for the soul.”What do you do when you are both attracted to and repulsed by something? In some cases, I created photographs in the most desirable way possible because I wanted the work to exist within this paradox around color: you can be circumscribed and exhilarated by it; limited and animated by it. Becca Albee, Radical Feminist Therapy, 12. Difference, Working With (detail), 2016Courtesy the artistKlein: Newspapers are a recurring theme. What attracts you to this analog media?Albee: I am interested in how we experience information, what actually gets filtered through and presented, what images we are shown, and not shown. The handheld newspaper is a historically important format that I first used for a project called Newspaper & Flowers. In 2006, I started to digitally replace journalistic photographs from newspaper clippings with photographs of flowers taken by my grandfather, Ellis Albert Resch (1903–1974), who had worked at the New York Times as a low-level assistant in his late teens.

In the years before his death he took hundreds of photographs of flowers, which I obtained a decade later. At the same time, I was collecting articles that angered me—most were about the Bush Administration and U.S.-involved conflicts. Eventually, I merged the two together. Becca Albee, Cradle of the Deep, Joan Lowell, 1929, 1st Edition, 2011Courtesy the artistKlein: Your series Joan Lowell: The Only Woman also considers the historical impact of news by referencing the scandal of Joan Lowell’s fraudulent memoir, The Cradle of the Deep.Albee: The project began after I read a paper that my father, a historian, wrote about Joan Lowell’s 1929 literary scandal. Lowell was a twenty-six-year-old actress who wrote a bestselling autobiography about growing up on a ship with her sea captain father and an all-male crew. In her book, Lowell positions herself as a child heroine, defying her gender expectations. In a review, Lincoln Colcord, proved that Lowell did not grow up at sea.

This review initiated a very public demise. Ultimately, I created photographs, sculptures, and a video performance using Lowell’s constructed biography, the scandal, and related objects as material. Lowell was a complicated character and I was interested in her construction of her own biography and her adamant life-long defense of her narrative. And also how she was scrutinized and brought down and who was able to capitalize on her failure. Who’s benefitting from this?Klein: Do you think that, in general, women are told that they’re fake or that their credentials are questioned more often than men’s?Albee: You could look at the U.S. Presidential election as the most glaring and blatant occurrence of this double standard—which in this case is so publicly violent and where an unqualified misogynistic, racist, classist, narcissist is even being considered for the most powerful elected office in this country.

So yes, absolutely.Annika Klein is the Editorial Assistant at Aperture magazine.